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Showcasing the works of

Farrokh Rostami Kia Master of Architecture Candidate Fall 2009 | Spring 2018

The University of New Mexico School of Architecture & Planning Master of Architecture Candidate

My background working in different countries and with different cultures has given me an open-minded approach to problem-solving and has taught me to be both effective and efficient in my work. As well, having been involved with the architectural profession long before being formally trained in it has given me the ability to envision sometimes unconventional solutions. As I continue to develop my understanding of the historical foundations of architecture, I nonetheless maintain an active curiosity about emerging technologies and the possibilities of an invention. I am an experienced team member and enjoy the challenges and opportunities of collaborative work, and my genuine love for the field of architecture comes through as what it is: the joy of being able to participate in such a meaningful profession. The followings are selected examples of my most recent works as a student at the University of New Mexico School of Architecture & Planning and my previous pre-school experiences. Thank you very much for your time and consideration in reviewing the presented work, a representation of my curiosities, ambitions and design logic that I have developed during the past 8 years.

Farrokh Rostami Kia M.Arch UNM SA.P 2018

Lighthouse / 01-08

Journey / 09-16

Mutant / 17-24

Refugio / 25-26

Pamphlet / 27-28 Awards

Desert / 29-30 Refugio

Cultural / 31-32 Complex

Toumar / 33-34 Restaurant

Heydarzadeh / 35-36 Villa

Eurovision / 37-38 Competition


Studio 604

Spring 2018

Competition Organizer: Cyprus School of Architecture

Instructor: Nicholas Nuccio

TOP: Birdeye View

North-West View

RIGHT: the Frame View toward the mediterranean sea

01 LIGHTHOUSE Farrokh Rostami Kia


Lighthouse for Rikko Beach Sea calms me, People make me feel alive, And I bury my feet in land covered with sand, chasing the sun towards a sunset, the light beam flickers and I’m there right below it, I have arrived, here at home leaning on the lighthouse.

The site is defined by its place alongside the Mediterranean Sea, and the role of any architecture here–especially a lighthouse–is to respond to this expanse of water and the horizon it creates. The proposed design is a frame, one that not only gathers the ocean and the sun into its canvas, but also the viewers, those who occupy this beach. The structure, through its arrangement of materials, becomes a dynamic gradient that moves from opacity to transparency. A seamless view is thus defined. Cypriots are known for their strong sense of

friendship and family bonds. What could be more important than having a community hub, a focal point that defines a kind of gravitational centre for the beach? A place where you can enjoy watching kids and families swimming and playing alongside the beach while lying down by the evening fire? And the flickering light–the intention is to turn the traditional lighthouse beam into a new kind of beacon, a jewel that will glow and signal people to gather, rather than to warn of danger. It becomes an artificial member of society. It will react to local behavior, each pulse of light instigated by locally-posted social media. The jewel will start to blink with each incoming feeds. Once a critical mass of activity has been reached, the light will balance at a steady state of illumination. The light will bind the people and people will outlast the light.

Farrokh Rostami Kia




Nature Vs. Man

Framing the View of Mediterranean Sea

Capturing the Encounter Between Sea and Man.

Transparency Spectrum

Plaza for Sunset and Night-time Gathering

Adding Dierent Levels of Transparency to Mild the Blockage of the View Towards the Sea.

Shifting the Legs to Provide Maximum Visibility Towards the Sunset and Creating a Platform for Group Activities.


03 LIGHTHOUSE Farrokh Rostami Kia






East Elevation

North Elevation



Exploded Diagram


Milky Glass Cover 1 6cm x 0.5cm Stainless Steel Flat 2 2.5cm x 0.5cm Stainless Steel Flat 3 5.5cm face width Hardwood Bench Slats 4 Reinforced Concrete 5


5 Farrokh Rostami Kia



IMAGE: Morning Shot

3Ds Max, Vray, Photoshop

05 LIGHTHOUSE Farrokh Rostami Kia

Farrokh Rostami Kia



IMAGE: Evening Shot

3Ds Max, Vray, Photoshop

07 LIGHTHOUSE Farrokh Rostami Kia

West Elevation

Farrokh Rostami Kia



JOURNEY Studio 602

Spring 2017

Location: Sichuan, China

Instructor: Prof. Karen King

TOP: Sichuan Dam

Goverment Building Destroyed in the Earthquake

RIGHT: Vertical Cemetery 3D Section

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Farrokh Rostami Kia

delayed response related to the diffusion of elevated pore pressure. Both can substantially alter local stress regimes and cause earthquakes.

Though China consistently denying any connection between Sichuan earthquake and the dam, some researchers believe Sichuan earthquake was triggered by the Zipingpu reservoir, which began flling in 2005 and lies about 20 kilometers from the epicenter.For me all these conflicts and simple correspondences were the inception where I decided to build my design upon. All The subject of my proposal design was conscioussaid, I decided to design a building intended to literally ly chosen to reflect a false belief of the remaining host the dead bodies of those who lost their lives and people and its consequences. Like many other be a place to help people to recall the real reason of ordinary ones these people believe the earthquake this incident. was a natural incident and in some cases as a will of God. However, there is an interesting fact about My site is a place to bury human bodies. It’s going to this incident that China’s government continuously reveal the sad memories and help people to get connected within their history. It is going to face the denying it. humans with the outcomes of their actions in associate Natural disasters are not always outcome of the to their playground; The Earth. regular features of Nature. As if recent studies My site is going to company a building which will show, signifcant amount of these incidents have human trace on them. Having said that there is a resemble the anger, the revenge and mourning all together. The form itself is going to be a documentary of human-relateddisaster that called Reservoir-induced seismicity (RIS). Induced seismicity refers to a disaster while harboring dead bodies and memories typically minor earthquakes and tremors that are of that event. I’m imagining my site as a remaining of a natural disaster which caused so many casualties. A caused by human activity that alters the stresses and strains on the Earth’s crust. RIS can be divided building which is going to be built in memory of those into two types: that caused by rapid stress changes who lost their relatives and friends, while condemning humans and outcomes of their behaviors. caused by the weight of the water, and a more Journey is a documentary of human death in response to Arch 602 studio’s subject which was a vertical cemetery. In 2009 an earthquake with a magnitude of 7.9 accrued in Sichuan city in China. And as a result, almost 69000 people lost their lives and many others were displaced.

Farrokh Rostami Kia



Conceptualform Study Phase 1 Appearance of the force

My site is a place to bury human bodies. It’s going to reveal the sad memories and help people to get connected within the history. Its going to face the humans with the outcomes of their actions in associate to their playground; The Earth.


Conceptualform Study Phase 2 Conflict

My site is going to company a building which will resemble the anger, the revenge and mourning all together. The form itself is going to be a documentary of the disaster while harboring dead bodies and memories of that event. I’m imagining my site as a remaining of a natural disaster which caused so many casualties. A building which is going to be built in memory of those who lost their relatives and friends condemning only the humans and outcomes of their actions. My site is also a museum and memorial in addition to its main concept which is being a cemetery. It is a cemetery in a way that it will contain bodies of humans and ruins of the place. It’s going to be a memorial where people can gather annually and commemorate the incident. And it is going to be a museum in way that will remind humans about the outcome of their actions and will try to teach them how to regain the peace with their provenance; The Earth.

Iteration 1 Conceptual Form-Site Mutation

Hope is a path a bridge that appears in your thoughest moments and drags you towards the light. Its just another imaginary scene from the future or an event that we like to happen. In order to get there you have to step back and continue your journey. But this time in a shoe of a different man. Ruination is just a transient stage which will pass like any other secular stuff. The question is do we tend to learn from them? “Nature holds the key to our aesthetic intellectual, cognitive and even spiritual satisfaction.”

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Farrokh Rostami Kia

E. O. Wilson

Iteration 3 Conceptual Form-Site Mutation

Conceptualform Study Phase 3 Disintegrating

Conceptualform Study Phase 4 Interconnectedness

Iteration 2 Conceptual Form-Site Mutation

Iteration 4 Conceptual Form-Site Mutation Farrokh Rostami Kia



IMAGE: Cognition

3Ds Max, Vray, Photoshop

13 J O U R N E Y

Farrokh Rostami Kia

This project has been published on the cover of CRIT Journal Issue 82 | January 2018

1 4



Main Entrance Path 1 econdary Entrance Path 2


Event Entrance Path 3 Exit Path 4 Parking Area 5


Farrokh Rostami Kia



IMAGE: Ruination

3Ds Max, Vray, Photoshop

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Farrokh Rostami Kia

Farrokh Rostami Kia



Studio 601



At the very beginning of our fall 2016 semester, each one of us has been assigned to choose and study a natural system exists around us. So, I chose to study “snowflake”. Snowflakes with its fractal elements and organic grow pattern was my main area of interest. Its case-based shape-shifting behaviors regard different external and environmental factors such as temperature and air pressure drew up my intention and formed my design concept to toward its ultimate goal and destination. During the form study process, I was looking to produce a logical system that could grow based on its environmental obstacles within its programmatic needs.

Fall 2016

Melika Seyyedakefi

Instructor: Alex Webb, Ane Gonzales

TOP: 01 1/4” scale Section Model Basswood on chipboard top

RIGHT: Form Study; Biomimicry

Merging Bone and Snowflake Results

17 M U T A N T

Farrokh Rostami Kia

Meanwhile, at mid-semester, we had been asked to choose a partner for the rest of the design process which led me to group with “Melika Seyedakefi”, such a motivated group-mate. Melika was working on the bone system. She was studying how bone with its porosity can provide enough

strength to keep its system integrated while being able to feed the inner organs to keep the structure alive. Being able to have a transparency without losing the integration of the system, was a magnificent idea. Having said that our joint venture led us to produce an architectural system having both fractural and factor based growth pattern with transparent elements to feed the inner program while keeping the durability of our system.

Geometric Growth Model

Steps Perspective





Snowflake System Phase 1 | Growth Grasshopper Model | Perspective


Bone Although it is not clearly understood why exactly snowflake takes such patterns and figures but the majority of scientist are consensus on a theory that snowflake starts from a dust particle in clouds and continue to grow in dendroid or pillar form. The reasons for such a difference pattern are temperature and moisture level. Meanwhile, different growth patterns (Pillar & Dendroid) has been studied by manipulation of basic form in different formation and directions. As a result, you see two different growth pattern. For "Bone" we studied the structure and its goals. bone with its porosity can provide enough strength to keep its system integrated while being able to feed blood to the inner organs to keep the structure alive. Therefore, this feature provides a much lighter and stronger pattern in a more sustainable way.

Farrokh Rostami Kia



IMAGE: Bird-eye View

3Ds Max, Vray, Photoshop

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Farrokh Rostami Kia

Farrokh Rostami Kia





















TOP: Floor Plan

3Ds Max, Vray, Autocad, Photoshop

RIGHT: Site Plan

3Ds Max, Vray, Autocad, Photoshop

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Farrokh Rostami Kia




TOP: Main Entrance | View to Gallery and Meeting-Conference Building 3Ds Max, Vray, Photoshop

Farrokh Rostami Kia



TOP: Gallery Interior

3Ds Max, Vray, Photoshop

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Farrokh Rostami Kia

Section A-A

Section B-B

Section C-C

North Elevation

South Elevation Farrokh Rostami Kia



Mountain Refugio

Studio 505 Fall 2016

Kramer Woodard Instructor:

I examined a daily life of a climber; his difficulties and needs during this excitement journey. After a deep research, I realize 3 main facts that I need to reflect on my program study process, which were encouragement, recalling and motivation and relaxation. Climbers go through a rough journey which drains most of their energy. By the time, they get to the checkpoint they are so tired to be able to consider the achievement they have just earned. Having said that, I decided to frame a view of the valley and the path they have gone through toremind them about their success and encourage them for future ones. Recalling and Motivation were my second steps in the program probing process. Now that they have arrived at the checkpoint they shouldn’t let anything seduce them. They need to be focused on their goal and remember the fact that this just an encampment. Consequently, I develop my design in a way that was going to reduce deceptive elements by controlling the opening size and providing targeted prospects without sacrificing the natural lighting. In addition, I knew that I had to place my forms around the hiking path rather than any other place far from the original path. I wanted it to be part of the journey and not to be severed peace. Relaxation; the last phase. I chose this phase to complete my design and goal. Now that I encouraged them by showing their achievements and motivated them by recalling their goals I needed to provide an environment to fulfill their energy for the rest of their journey. I determined to frame a night sky to emphasize the beauty of this magnificent scenery and use its magical power to relax my guests. Having said that, I scattered these 3 programs on a semi-flat surface (compared to other dramatically sloped grounds around the site) above the lake Como on a 12000 ft. elevation.








25 MOUNTAIN Farrokh Rostami Kia







Farrokh Rostami Kia




PAMPHLET ARCHITECTURE 36 Honorable Mention Team Members: Jared Winchester, Matt Cooper, and Farrokh Rostami Kia

Tethering Masts connect to each other for added rigidity. Fog sails capture mist and direct it to down to storage. Tension ring controls stress on masts, controls oscillation. Roof deck Operable curtain and glazing system for privacy and ventilation. contains storage within thickness.

Drop-down dock contains steps and adjusts to water level. Container boxes serve for anything from storage to plantings. Utility Tie-in could connect to existing infrastructure. Piezoelectric tube converts bending stress of tethering masts into electrical energy.

Bundled Pile Base with hinge connection to masts.

27 TERRITORIES Farrokh Rostami Kia


Diagram of piezoelectric bending stress to energy system housed within each of the four mast column sleeves. The masts also act as a system for suspending cables interconnecting the entire community into an informal power “grid.�

This Pamphlet uses the premise of a new collective space, forged through climate change, to interrogate the geographic, political, social, spatial, and ultimately experiential dimensions of a world where the consequences of global warming are met through a radical reorientation of the patterns of human life. Climate change not only involves the practical challenges of geographic change, but the ideological struggles of societies to accept and incorporate this new reality into a successful mode of existence. We cannot, as architects, solve this problem by continuing the strategy of disaster response as our only means of contribution. We must advance projects which truly ‘project’ new ways of seeing the world and acting upon it. In responding to the challenges presented by rising sea levels, increasing intensity of weather and rising toxicity levels of natural habitats, the new ideas of “territory” presented under the collective identity of the Gulf State in this pamphlet promote a condition where humans and society function as an extension of natural processes. The proposals advanced in this pamphlet literally and �guratively ‘bridge the gulf’ that separate us from full and adequate response to the crisis of global warming in all its myriad manifestations. It is equally a crisis of consciousness as it is a crisis of geography. The Gulf of Mexico is speculated upon as a test site for a recollected society after most/many of the estimated e� ects of global warming have begun to take place. Using the gulf as a locus, and with its perimeter de�ned by the surrounding littoral edge of land to be lost when sea levels signi�cantly rise, we have created a territory of vibrant space that would be otherwise inhospitable to humans living in the near future. We propose new forms of adaptation for maintaining its vitality. The gulf condition is vast and complex, yet at the same time represents a semi-closed system of interaction analogous to the scale of our planet. In this way we can develop projects of regional speci�city to address the challenges facing the entire world. Just as rising sea levels will confuse the assumed distinction between land and water, so also do these projects question the many other ideological boundaries: public and private, individual and collective, architecture and environment, man and nature. The word “state” can be understood in both the political sense as well as from the standpoint of a state of mind or matter; we invite you into our Gulf State to explore its various territories Diagram of piezoelectric bending stress to energy system housed within each of the four mast column sleeves. the masts also act as a system for suspending cables interconnecting the entire community into an informal power “grid.” PAMPHLET ARCHITECTURE 36 Honorable Mention 2016 Tethering Masts connect to eachother for added rigidity. Fog sails capture mist and direct it to down to storage. Tension ring controls stress on masts, controls oscillation. Roof deck can be mix of paving and planting, recon�gurable. Operable curtain and glazing system for privacy and ventilation. Torsion Box �oor contains storage within thickness. Drop-down dock contains steps and adjusts to water level. Container boxes serve for anything from storage to plantings.


Studio 505

2nd Project Fall 2016

When we have been assigned to design a Refugio for use in the cause of disaster relief, be it natural, political or otherwise the very first issue that popped up in my mind was the safety matter. An inevitable solid protection provided for these poor people against any kind disaster. I’m coming from a culture (Persia) which in ancient time has been forced to protect himself from any type of natural disaster or war. Having said that I started to study how they managed to solve this issue. In Iranian Introverted architecture people decided to live in a form of a big family or close neighbors. They built a closed form with a singular entrance into an inner yard. And from that intersection point they had an access to their own unit. This simple and brilliant form of integrity let them to control the accessing and helped to protect each other. Consequently, I decided to use this solution as a base of my design. The second factor that I was looking for was potential for quick deployment and retrieval. However, rather than addressing these needs alone, I preferred to combine them with another major fact, which I’m going to describe. While I was examining photos from these refugee camps, my very first impression was their emotional moods. Almost every person in those photos look sad and frustrated, which remind me my responsibilities as a designer for humanity. It’s easy so provide some prefabricated cubes or tents which can be replicated and installed in a blink of eye, but what the value of humanity in term of design? What about those people’s culture and roots? Thus, I decided to look from another perspective which let me to the design I’m going to present.

29 D E S E R T Farrokh Rostami Kia


Kramer Woodard Instructor:

Assembly Process

The form is consisting of series of modular pieces repeated by rotary movement around a point located on the center of the final form. There are two different panels in this system; a) partition panels and b) opening (connection) panels, which every user based on his need can choose to combine these two in different combinations. The main goal in this modular design is to provide the freedom to expand the base by connecting different pods together and fasten them with draw latch like joinery system at the end. However, providing this type of design will reduce the user end work load and cost (which is result of reduced transportation load). Beside the user end pros, this solution provides much efficient design format in order to make public areas for each group without sacrificing the area and cost. The main platform is lifted up in a way that ventilation will naturally happen and provide an opportunity to be deployable on any non-flat area. Having said that, user can easily align the platform horizontally by changing the legs height with simple tools. There are two secondary opening on each panel which are ETFE panels. Based on user demand these panels can be changed with other polymer based materials. From cultural point of view providing connectivity to this pods will help the society to recover as fast as its possible (with social support from neighbors) and will add to safety factor of these pods. In case of danger the system will be fully locked to prevent its habitants from outside hazards. Since the pods are connected families are able to help each other if any need occurs.

Farrokh Rostami Kia



Turkey’s 2013 Turkey’s Ministry of Culture Cultural Capital Complex employer

Spring 2012

The project was completed within 2 month. It consists of research and graphic work. The aim of the research was to design architecture and planning structure of a Turkey's 2013 Cultural Capital complex. It is situated at one of the most beautiful cities of Turkry, Eskishehir. As dominance of Islamic culture in Turkey, the mosque was designed as a primary public services to this complex. By integration of both traditional and modern architectural vocabularies, the complex introduces itself as a post-modern establishment in the historical and traditional context of Eskishehir. The mosque's architecture is modern and unique, lacking both traditional domes and arches of most other usual mosques. The mosque's unusual design is a departure from the long history of Turkish Islamic architecture, fusing contemporary lines with the more traditional look of Molana’s traditional whirling “dervish” dance, with its large prayer hall and four minarets. However, unlike traditional masjid design, it lacks a dome. The minarets borrow their design from Turkish tradition and are thin and pencil like. It represents the idea of returning, returning to yourself, to themselves, for those who are eager to find their true self. Its organic body is a symbol of a shelter which origins from the nature of each of us. Its twisted minarets are representing the idea which lays behind the dervish dance.

South View

31 T URKE Y 1 3 Farrokh Rostami Kia




Arc Roof

Dervish’s Skirts

Representing Design’s Concept

4 Whirling Minarets

Design Concept

Whirling Dervish Dance

Reference type

süleymaniye mosque

Design Process

A combination of Turkey’s traditional history and culture

Final From

Arcs were involved to emit the columns

Structural Arcs

Cieling and Side Opening to let the light in

Directional Entrance

Aerial View

King Osman’s Museum

Complex Entrance View

Mr. Alizadeh Employer

TOP: Main Entrance

3Ds Max, Vray, Photoshop

RIGHT: Series of interior and Exterior Shots Merging Bone and Snowflake Results

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Farrokh Rostami Kia

Toumar Restaurant Spring 2015

Change is the inevitable shared condition of all aspects. In the case of buildings this can be the result of environmental forces, societal or aesthetic change, or as with this project, economic improvement. Mr. Alizadeh’s business, the Toumar Restaurant in Urmia, Iran, was growing and he requested that I design a space to accommodate this increase in business and customer traďŹƒc. The principle challenge for this project was to incorporate both traditional materials and forms as well as to create a building with a distinctly modern feel. The masonry bricks, with their natural textural variability and prevalence in ancient Iranian architecture, were to be one of the dominant materials. In addition, diamond patterns are a common motif in Iran and so I chose to use this shape as the guiding principle for the design, incorporating it both formally and as a pattern. More modern materials, such as plate glass and steel, and modern forms like open spaces,

clear connection between interior and exterior, large cantilevers, and open-riser stairs were included to provide a balanced counterweight to the traditional aspects of the design. As the project progressed, however, a shortage of skilled local labor as well as budget constraints forced a signiďŹ cant redesign. Both versions are presented here.

Farrokh Rostami Kia



Heydarzadeh’s Villa, 1st floor

Arjmand’s Villa, North View

Heydarzadeh Villa Summer 2014 Private Employers

Heydarzadeh’s Villa, Ground floor

Arjmand’s Villa, A-A Section

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Farrokh Rostami Kia

Arjmand’s Villa, Ground Floor

Arjmand’s Villa, 1st Floor

Heydarzadeh’s Villa, North-East View

Arjmand’s Villa, South-West View




s Vi

lla M



Arjmand’s Villa, North View


Farrokh Rostami Kia

V I L L A s


We designed our form refers to the PRISM. Since The Prism is a type of shape where various colors meet, and a single color born, our concept is formed by The Prism.

Azerbaijan Eurovision Concert Hall Spring 2011

SporSanayi INC. Employer

Researches were carried out at the very beginning of the design phase. Photos were selected in relation with design concept and supported with graphics. For better understanding of design, the presentation process was supported with photographs. This is what we meant from COMPONENT and TOTAL relationship


Public Entrance, Night View

Farrokh Rostami Kia

Public Entrance

view from Sea Eurovision is a kind of a feast in which different countries, cultures and colors come together.

Specialized areas for summer and winter usage

Main Entrance

Bird-Eye View toward VIP Entrance (Sea rout) Farrokh Rostami Kia




Fall 2016 Version