Golnaz jamshidi 2018 Selected Works

Golnaz Jamshidi is a graduate of University of Waterloo master in architecture program, with a passion for working on the intersection of architecture, urban design and public spaces designs, how architects can be influencing the everyday life of public rather than a specific user.

During her academic and professional practice she gained a variety of inter-disciplinary and inter-cultural experiences. She has previously worked as Architectural Designer for BNS architecture studio and Shift Process Practice architecture studio in Tehran, where she focused on developing multi-scale architecture and urban design projects, including a number of award-wining competitions.

During last couple of years, her research and projects has been focused on architecture design projects as well as urban design projects with concentrating on designing public spaces in cities, alternate public spaces with investigating citizens as part of the project.

Two of her recent group project being tested in city of Toronto, where she was part of the design and building team, focused on this concern of public spaces in modern cities.

Her recent research-based design Master’s thesis focused on alternate public spaces and redesigning leftover spaces of the city of Tehran. Her project must respond to the vast number of social, political questions in the city as well as focusing on the big question of public spaces in the city as well as looking in to detail and context for designing the projects, as well as answering the question of the role of the architect in the new era and the position of public in building their own spaces

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Golnaz Jamshidi

March 28,1991 - From Tehran, Ir. - Currently Toronto, Ca.

+1(519)729-7073

gjamshid@uwaterloo.ca

golnaz.djamshidi@gmail.com

https://www.linkedin.com/in/golnazjamshidi1991

https://issuu.com/golnazjamshidi/docs/

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ACADEMIC BACKGROUND Master of Architecture (M.Arch)

Sep 2015-Jan 2018

Bachelor of Architectural Engineering (B.Arch)

Sep 2009-Jun 2014

High School

Sep 2005-Jul 2009

University of Waterloo- School of Architecture Cambridge, Ontario, Canada http://www.uwaterloo.ca

Tehran Central Branch of Islamic Azad University-Department of Art and Architecture Tehran, Iran http://www.iauctb.ac.ir

Rah-E-Roshd Educational Complex Tehran, Iran

WORK EXPERIENCE/TEACHING AND ASSISTANTSHIP Teacher Assistant

Senior Researcher

Teacher Assistant

Mar 2015-Aug 2015

Teacher Assistant

Oct 2014-Jan 2015

Jan 2017-Mar 2017

University of Waterloo- Visual and Digital Media Course, Prof. Michal Maciej Bartosik Cambridge, Ontario, Canada http://www.uwaterloo.ca

TUIC(Tehran Urban Innovation Center) Tehran, Iran http://www.tuic.ir/en/

Apr 2016-Present

Tehran Architecture school- Design Studio, Prof. Rambod Eilkhani-Nashid Nabian Tehran, Iran

IAUCTB University- Design Studio II, Prof. Rambod Eilkhani Tehran, Iran

Architect

Aug 2013-Aug 2015

Shift Process Practice Studio Tehran, Iran http://shiftprocesspractice.ir

Junior Architect

BNS (Bahambar Novinsaz) Studio Tehran, Iran http://www.bns-studio.com/

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Mar 2012-Aug 2013

HONOR AND AWARDS/COMPETITIONS Winner (Built) Toronto Beaches Winter Stations Design Competition University of Waterloo Group- Flotsam & Jetsam

Feb 2017

https://goo.gl/7uAxfu

Ranked 2nd Memar Awards 1395- Residential Villa Category

Sep 2016

Shift Process Practice Studio- [In] Exterior, Falahatian Yard-House goo.gl/pZ7zMw

Winner International Architecture Awards- The Chicago - USA Athenaeum

Dec 2015

Project of the Year MIDDLE EAST ARCHITECT AWARDS - Community and Cultural Category

Nov 2014

BNS Studio- Shams Tabrizi Monument goo.gl/7HtsQh

BNS Studio- Shams Tabrizi Monument goo.gl/8u7hEH

Ranked 2nd Memar Awards 1393- Residential Category Shift Process Practice Studio- Eilkhaneh

Sep 2014

goo.gl/7YGm5E

Ranked 1st Pasargad Headquarter Designing Competition

Jun 2013

Feb 2013

BNS Studio goo.gl/gvccLh

Ranked 1st Mirmiram Annual Competition With Nilufar Ghorbani goo.gl/VHrbNR

SKILLS Presentation and graphics

Adobe Creative Suite: Illustrator - Photoshop - Indesign- After Effect

Drafting, 3D modeling and rendering Autodesk: Autocad-Revit

Others Softwers

Rhinoceros- Plugin: Vray

Google Sketchup-Plugin: Vray

ArcGIS

Microsoft Office, Movie Maker

Other Skills

Poster and Graphic Design, Photography, Sketching

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Always challenging with urbanity and the issue of not looking into a building as a standalone object and the projects urban context, as well paying attention to the city and the public spaces in it, I can categorize my design projects into architecture, urban and public design projects. Many of the projects have overlaps between these fields. Also to indicate the built and concept design refer to the logos identified here.

Architecture

Built

Urban Design

Concept

Public Space Design

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Academic Works Master Thesis- Alternate Public Spaces for Tehran: Reimagining the City’s Leftover Fragments

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Multi Complex Hyper Building

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Cambridge Children’s Library

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Bachelor Thesis- Raad Rehabilitation Center

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Professional Works WhatMakesaSpaceaPlace

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Flotsam & Jetsam

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[In]Exterior, Falahatian Yard-House

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Eilkhaneh

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Kelak Villas

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Competitions Bamiyan Cultural Center

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Qebleh Square

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Enghelab Interactive Square

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Pasargad Bank Headquarter

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Shams Tabrizi Monument

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Mirmiran Annual Competition

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Graphic Designs Shift Process Practice Branding

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Academic Works

Alternate Public Spaces for Tehran: Reimagining the City’s Leftover Fragments Winter 2018- Master’s Thesis University of Waterloo Location: Tehran, Iran https://uwspace.uwaterloo.ca/handle/10012/12954 https://issuu.com/golnaz.jamshidi/docs/golnaz_jamshidi-thesis.compressed Public spaces are publicly owned spaces where people may interact freely with other citizens. A public place promotes social interactions and creates tolerance for diverse interests and behaviours. But in Tehran, many public spaces are not actually accessible to the public.

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Š Gilbert Sopakuwa

Tehran, the capital of Iran, is a developing megacity with more than 8.8 million residents sprawling over an area of more than 730 square kilometres. The city has experienced a sustained process of densification since before the revolution in 1979. Due to the geographical boundedness of the city by mountains to the north, east, and west, and the desert to the southwest, Tehran has nowhere else to grow but to densify.

Influenced by this rapid densification, public and private resources have mainly been concentrated on constructing more residential, commercial and institutional buildings. In this process, the importance of open public spaces has been lost.

Panaromic View of Tehran

3800

3300

2800

2300

1800

1300

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Alborz Mountains

Region 2

Region 10

Region 10

Region 12

Region 12

Region 19

Region 19

Khalij Fars Highway

Kahrizak

Tehran Plain

Region 2

Geographical ~ Socio Demographical Section of Tehran

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Uneven Public Spaces Distribution around City

© Abdolvahed Mirzazadeh

© Milad Alaei

© Kaveh Rostamkhani

On the one hand, political shifts in Tehran over the last several decades have caused public life to migrate in part of the private realm. Many activities still considered desirable by citizens, such as socializing, performances, or even interaction between genders, have been declared illegal by the Islamic government. These legal restrictions have resulted in a reduction of public activities which means that they cannot be accommodated within the current public spaces of Tehran.

Public Activities in Tehran

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Š Fereidoon Ghorbani

Š Municipality of Tehran

On the other hand, the neoliberal commodification of public spaces and the development plans of Tehran in the past decades have resulted in the creation of very large public spaces (mainly parks) distributed unevenly around the city. These spaces are far from the daily life of most citizens and their formal arrangements are abstracted from the diversity of activities desired by a diverse population with a range of spatial needs and desires.

Super Large Public Parks in the city - Abo Atash Park

Open Large Public Spaces in City

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Therefore, it is crucial to imagine a new breed of public space in Tehran, whose distribution will match the contours of daily life. These interventions will have to be smaller and more local to be able to respond with agility to the spatial needs of the whole range of public activities. Finding available space in this dense city for these new public spaces is not easy. Some of the few leftover fragments of the city are the residual spaces created by infrastructural networks. The publicly owned spaces scattered around Tehran under urban bridges present immediate potential. This thesis project reimagines these leftover spaces as potential sites of intervention and rearticulates them as networked, multiscalar, performative, and contextualized typologies for alternative public spaces in Tehran.

TYPOLOGY of SITEs of INTERVENTION Local Road

Highway Underpass Highway

Local Road

Highway

Highway

Highway

- Moderate this space for instant stops - Making a warm | cool space depend on the season

Highway

Walking Underpass

Local Road

Highway

Local Road

Local Road

Local Road

- a public place for staying and pause along the walking path - not necessarily a ďŹ nal destination - passing by public activity

Highway

Island

Highway

Local Road

Local Road

Local Road

Local Road

- a public place for long time staying - a ďŹ nal destination public space

Highway / Local Road

Center Tunnel Local Road

Highway / Local Road

Local Road Local River

Local Road

Local Road Local River

- a public place for locals - sound and pollution barrier from the road

Corridor Tunnel

Local Road

Local Road

Local River

Local River

- a public place along the path in an environmental area - small interventions

Barrier

Pedestrian Path

Pedestrian Path

Railroad

Railroad

Local Road

Local Road

- a public place as a barrier - Longitude public space

Typology of Site of Intervention

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Academic Urban Bench

Outdoor Classroom

Group Project Box

Co-working studios | Workshops

Public Digital Magazine

Under the Bridge Musician

Group Gathering Singing

Public Stage

Movie Night Box

Outdoor Cinema

Food Vendor Gathering

Urban Kitchen

To-Go Tea Box

Urban Dining Table | Chess Table

Street Vendor Platform

Skateboard / Parkour Elements

Street Game Cage

Gathering Community Garden

Stair Gathering

Communal Gardening Barrier

Open Library

Microclimate (Heat/Cool Lamp)

Cultural Centers Ticketing | Info Wall

Cultural

Commercial Advertisement Shop Kiosk

Group Shop

Entertainment Swing Sets

Utility Adversitment Wall | Sound Barrier

Gallery Boxes | Sound Barrier

Praying Mat for Men | Comfortable Ground

Prayer Room for Women | Comfortable Ground

Washroom | Ablution

Religious

The general process is a collaboration between the designer and the city, decisions made by the designer, and management by the municipality of Tehran. These are the actions taken to create a platform for citizens to use as public spaces and to bring their attention to these leftover spaces.

A toolkit of possibilities as a kit of parts that gives various options for citizens and local communities to look into, get ideas, manipulate and place at various sites of intervention was designed and represented in detail in a booklet.

Alternate Micro Public Spaces

Creating these alternate public spaces in Tehran is a bottom-up/top-down cooperation that tries to reconstruct under-the-bridge leftover spaces as public spaces through interactive processes that respond to community needs.

Typology of Intervention

Booklet of Toolkit of Alternate Public Spaces for Tehran For the detailed booklet Click on the image

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Vahdat Theater/Concet Hall

Hafez Theater Hall

Grou

In the process of designing two of the sites were picked for furthur and detail design. One of these sites was this site which is part of a group of three bridges that are near each other in the center of Tehran. This site is one of the “Island” type of sites of interventions, in an educational and cultural district of the city. Because of this combination of programs, there are many stakeholders at this site of intervention, from students and street musicians to taxi drivers, older people and government employees, all of whom might have different needs for these alternate public spaces. Therefore, the major programs at this site of intervention are chosen from the cultural, commercial, and utility type of programs that transform this space into a place for different groups to come, socilize and interact. Be-

Artists Group Shop

She’s singing a Nostalgic song :)

Urban Dining Table

Comfy Ground

Nice :X Your turn sir

Traffic is killing today

Using toolkit to design one of the sites as a sample

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Group Gathering Singing

Urban Dining Table | Chess Table

Walkin

Comfy Ground Gallery Wall

Wow :D Gallery Boxes

Cafe

Azad University Central Branch - Art & Architecture

Wow How did he make this??! :O

Heat Lamp

up Gathering

ng Through Cafe

How creative :O :Like

ite

nd

a rt

ch Ar

A

To cause this site is an “Island� type, the components have been chosen so that people will use them for longer stays and citizens from other neighbourhoods will also choose this location as a destination. These components will address the daily needs of the various actors, but the intervention could be changed to accommodate special occasions such as student art exhibitions or political debates. Because universities are not accessible to the public in Iran, this new public space can be an opportunity for university students to exhibit their works to the public and even find job opportunities out of that.

:))

Black Tea :P

Amir Kabir University - Engineering

Artists Group Shop

Cultural Centers Ticketing | Gallery Wall

Gallery Boxes | Sound Barrier

Praying Mat for Men

Microclimate (Heat Lamp)

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y

sit

er

niv

U re

ctu

After Adding Components on the sites and how it will be activated

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Site A

Site B

For watching the transfortmation process of each of the sites click on them

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Changes of public usage of these interventions in various sites of intervention during different times of the day

Under the Bridge New Public Spot

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The result of “Alternate Public Spaces” in every Neighbourhood

These new public spaces will transform the residual spaces of the city into places that people can enjoy in their daily lives, creating vivid, open public spaces that will operate at any time of day in the compact city of Tehran.

These new public spaces will be scattered throughout neighbourhoods all around the city and will be designed based on the locals’ wishes, in contrast to the super-large public spaces provided by the municipality.

These public spaces will be a platform for both new public activities that are not currently happening in the city, and represent this hidden layer of the city in the public realm. I am aware of the possibility that these spaces could be shut down because of the activities taking place in them, but because of the partly hidden nature of the spaces under bridges and also the flexibility of these components, these spaces can resist being shut down.

In this thesis, the architect was challenged to be the identifier of the spatial and programmatic potentials rather than the designer of the specific form and static objects in the city. Architects in our era can have the role of managing the strategies for public spaces, paying more attention to the citizens’ desires rather than just designing the spaces. The design of public spaces, in contrast to the singular top-down or bottom-up processes, can be a collaboration of both of them. This will help the urban projects to _happen while they address the needs and grant the wishes of the locals with the help of themselves. At last, it was shown that public spaces, legitimised or not, can act as stages for people and events. As Margaret Crawford said in her book “Everyday Urbanism”, the people and their lives are the definition of the reality of the cities, and not the static and permanent urban conditions. Therefore, public spaces could become a real platform for all of the citizens of thr city to use them as freely as they want, not just a platform for the architect to showcase his/her designs.

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Multi Complex Hyper Building Winter 2016- Master’s Studio II University of Waterloo Location: Toronto, Canada Hyper Buildings, Urbanity + Productivity + Domesticity. The project is a discussion about Big Urbanism that merges the demands for bigness, density and hyper program with the need to respond to and enrich its urban context. This project was about designing an entire city block within Toronto’s urban core, in respond to mixed used patterns as respond to the zoning laws and also the high density as respond to increasing population of the cities cores. Therefore the program involves a mix of residential, light industry, office, retail and shared used spaces. The context of the project is one of the blocks in St. Lawrence neighborhood which is a unique prototype in Toronto.

The most important concern I pay attention to was the issue of isolation of the residents from their context as a result of making a hyper building with all the programs needed, answered inside the building. Therefore I bring public spaces, accessible for all of the city in various levels, and mixed various programs in different levels, for improving the residents and public’s interaction and secondly for people to experience new public space in upper levels of a building in their city. Also as a result of the modern life, our communication with the other people is being lost and is happening in the virtual world, having shared spaces in the buildings make people to interact with each other.

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Continuing the public park in front of the building into the building and bringing public in various levels of the building Vertical Circulation

Creating internal (between different levels) for making a different sense inside this hyper building Public Circulation

Project Basic Concepts

Public Green Space Semi-Public Green Space Public Spaces Semi-Public Spaces Private Office Circulation

Publicness Varieties

Structure System

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Entrance Perspective

Sec B-B Sc 1:500

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1

1

5

5

10

10

20

20

1st Floor Plan Public Space) +5.60(

8th Floor Plan Office Spaces) +38.40( 1

5

10

20

-1st

2nd

4th

7th

12th

18th

27th

28th

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Cambridge Children’s Library Fall 2015- Master’s Comprehensive Studio University of Waterloo Location: Cambridge, Canada This project was about designing a children’s library in Cambridge city, near the present main library building in the historical town centre of the city.

In contrast to a Public Library, a children’s library is a place for kids and children to meet and have fun while reading a book. It can be a place for them to play and experience very different activities such as listening to a story to working with clay or having a group book reading session. Also as it is a children library, it is important to have a place for parents to stay, chat and enjoy while they are waiting for their kids. Therefore having public spaces as well as to meet the program needs of the project to bring more people into this small and low populated area was one of the main concepts of the project. It was important to make this building as public meeting point rather than just a single building in the city. To reach to this concept continuing the park in front of the site and having greenery in various levels, as places to sit on, grow plant or just to look into was the other main concept in the project. Also, in a small city after the building is closed, it is important to provide security, therefore having public spaces and two different set of public stair on two side of the building, which are accessible in all time of day, can help in achieving this goal.

Designing the building to meet the LEED criteria was one of the aims of this project. Therefore, there were various decisions made to meet them, some of them such as having a wooden building to be environment friendly, having various levels of greenery and different technical decisions that were made toward the design of the project.

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Attracting more people to this low populated area of the city

Continuing the existed green park into the site

24h

Offering a public space beyond the building for the city for all day

Children reading area View

Northern Elevation

Building Structure

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Building Deatils

Sec A-A

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1

5

10

Second floor public green roof

Kids (1-6 years old) reading area

1

5

10

Sec B-B

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Raad Rehabilitation Center Spring 2014- Bachelor’s Thesis IAUCTB (Islamic Azad University Central Tehran Branch) Location: Tehran, Iran Iran-Iraq war in 1980 caused the rate of physical disable people in Iran to increasing so fast. Raad Rehabilitation NGO was established at 1984 to promote the cause of the physically disabled community. Their main goal was to bring this isolated group of the community back to their society. Ra’ad is trying to gather them to teach them skills based on their abilities, which they can use to help them to get back their community. From 2009 I start working in this organization as a volunteer and have been working for and with the physically disabled people.

The existing building being designed and used for this manner was built in 1984 and it was not considering the disabled people’s needs while designing it. Also the building is so isolated from the rest of its context which is exactly against what Ra’ad goals are. As an architect and a volunteer I taught that this complex would have been benefit from a new building that can address the wishes of these group of people.

The major concept of this project was to connect this organization with public audience as much as possible.

Therefore having public spaces which can be accessible for disabled and normal people at the same time, beside other programs needed for the organization. The whole public programs added, such as café or gallery will be running by the disabled people themselves, and they will present their products that they have been taught to make in the organization. They will practice to feel like a normal citizen in this complex. Furthermore in this project there is no place which disabled people cannot reach it by their own. The whole project is consist of various levels of ramps that gives access to different parts of the building as well as sets of elevators. In this way disabled people are just like the public and would not be isolated. It is a disabled friendly complex in every detail of it, indoor and outdoor.

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Lack of Public Space in the Region

Panaromic View to the city

Sites Topography

Target Group

Less walking population

Physical Disabled People Basic Analysis

The site of the project was a challenging fact for designing a disabled friendly project. The site is almost a hill in the middle of a residential block. Designing a complex for people which their mobility is impaired in high slope site!

For encountering with this issue, the idea was to have the least excavation and maintain the available site as much as possible. The complex was designed as part of the topography and not as a separated building on top the slope.

The main goal was to make this complex as a public space serving the whole neighborhood while having special facilities for physically disabled people. Many public programs and the public park in the southern and south eastern part of the project were added for this matter.

Project High Level Concepts

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Interior Spaces Connections

Interior-Exterior Circulation

Sec D-D

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Interior garden in the educational zone

Interior public corridors

Ground floor atrium

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Activities for the City Activities for the Complex

Program Distribution Concept

Exploded Diagram

34 Sec A-A

The green plaza can host big event (charity festivals) or simultaneous multiple events all around it

Continuing the existing walking path

Panaromic view over the cities skyline Projects Urban Analysis

12 20 21 22 23 24 25 26 27 28 29 30

W.C Confrence Room Administrative Manager Finance Volunteer Association Doctors Room Storage Physiotherapy Health Clinic Storage Speech Therapy

Third Floor +9.37

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Professional Works

WhatMakesaSpaceaPlace Spring 2017- Design Build Project University of Waterloo Team- Co-Designer, Graphic and Media Team, Construction Location: Gardiner Museum, Toronto, Canada https://www.gardinermuseum.on.ca/event/community-arts-space-2017/

Team Members: Negar Behzad, Suhaib Bhatti, Golnaz Jamshidi, Alexandra Hucik, Carly Kandrack, Ali Mohebali, Cam Parkin, Fotini Pitoglou, Danielle Rosen, Pavel Tsolov, and Anqi Zhang Originating as a graduate elective course taught by Jonathan Friedman of PARTISANS Architects in the winter of 2017, our team of the graduate students were tasked with activating the Gardiner’s outdoor plaza with a site-specific built installation. The course focused on three key areas of architectural investigation: materiality (linking traditional methods with new technologies); the site (an opportunity to engage with the building, the forecourt and the public realm in a meaningful and thoughtful way); and the poetics of space (the opportunity to create a poetic and provocative piece of art and design). In the process, we have had the opportunity to examine the importance of civic space and to engage directly in the act of city building.

Our intention was to create a physical and digital forum about place-making, art and city-building. We created a site-specific built armature to the front outdoor plaza and the upper level balcony of the Gardiner museum of Ceramics.

Coinciding with Waterloo Architecture’s 50th anniversary, visitors were invited to embellish colorful benches with mosaic tile as part of a month-long communal art-making activation exploring the scarcity of meaningful public space in Toronto. A series of discussions and activations engaged the public in this ongoing dialogue throughout the month of July.

© Gardiner Museum

The afterlife of the project was important as well, we did not want it to put into waste, therefore we found some different new places for each part of the project in other smaller parks in downtown Toronto, and the project is giving the message as a symbol of public involving in making their cities.

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Gardiner Museum

Our main goal was to active and bring public to interact in the outdoor plaza of Gardiner museum and for people to reach out to the upper public level of the museum. The idea was to create a place for public to engage in making of it and be a part of the project itself. This project was pre maid by us but the main part of it was the place made by the public and which made the project finished. Without public engagement the project would have seen as unfinished. Also because this was a Ceramic museum this idea of engagement was tied with public tiling part of the project.

The first idea of how to engage people in making part of the project came from the tiling processes in Tehran which were managed to build by the graphic students of the city under supervision of the municipality. Also the process of how to easily involve people in making art in the The Obliteration Room by Yayoi Kusama. That lead us to our specific process of engaging people in the project.

Project Inspirations and Main Concepts

People Participation Process

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© Ali Mohebali © Ali Mohebali © Ali Mohebali

The process of building the base of BENCh and BAR for displaying on site

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The team working on the project

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© Ali Mohebali

© Ali Mohebali

© Ali Mohebali

© Ali Mohebali

Š Ali Mohebali

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Š Ali Mohebali

Š Ali Mohebali

The tiling process before moving to site

© Ali Mohebali © Gardiner Museum

© Gardiner Museum

The BENCH and BAR on the Gardiner Museum Site ready for the opening day and people’s interaction

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Public interaction with the BENCH

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© Gardiner Museum

© Gardiner Museum

© Gardiner Museum

Public interaction with the BAR

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© Gardiner Museum

© Gardiner Museum

© Gardiner Museum

© Gardiner Museum

Flotsam & Jetsam Spring 2017 University of Waterloo - Co-Designer, Construction, Social and Media, Photographer Location: Toronto Beach, Canada https://www.archdaily.com/804603/

Team Members: Nicola Augustin, NegarBehzad, Anne Cheung, Bryce Clayton, Catherine Cohen, Mona Dai, Sarah Donaldson, Parshan Fatehi, Allegra Friesen, Golnaz Jamshidi, Carly Kandrack, Ryan Pagliaro, Elida Pletikapic, Alexandra Sermol, Kirsten Sheppard-Neuhofer, Eric Sviratchev, Joel Tremblay and Danny Wei Flotsam & Jetsam is designed to engage with its visitors as a playful and poignant fixture in the Toronto beaches’ landscape. As one approaches from the vantage of the city the 20 foot high colourful sculpture generates curiosity and invites a closer look. Upon arriving at the station, however, Flotsam & Jetsam is not what it first appears. The installation reveals the realities of plastic consumption, resulting waste and its effects on the aquatic biodiversity of the planet we share.

Constructed from cubes of metal mesh, approximately 20 foot high the fish will tower over the visitor ensuring that it is highly visible along the beach. The bottom-most layers of the mesh structure will be weighted to provide a foundation in order to resist the wind or snow loads. To achieve the colourful, textured finish the mesh cubes will be filled with recycled plastic collected from the local community. The materials employed in the design are completely reusable and recyclable.

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The installation reveals the realities of PLASTIC CONSUMPTION RESULTING WASTE and its EFFECTS on the AQUATIC BIODIVERSITY of the planet we share.

For engaging for the locals and students to help the group to collect plastics for filling the cubes, there was a Facebook and Instagram pages made for promoting the project and for people to engage. Also there were multiple events on the Bridge (the student event center) that the group were volunteering in them for collecting plastic bottles. Also many flyers were designed and spread around the city for people to collect their plastic bottles and for our group to gather them from various neighborhood in the city of Cambridge.

Community Engagement

Material Gathering and Sourcing

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What we expected to built vs What we built (#trishthefish)

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Building Process of Site

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Building Process on Site

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On the social media there was very good reaction to our project, many people have been visiting the project and have posted theirs taught and pictures on Instagram with #floandjet or #winterstation2018

The fish on Toronto beach as the WinterStation 2017 exhibition

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[In]Exterior, Falahatian Yard-House Summer 2016 Shift Process Practice - Designer Associate, Design Development, Construction Docs Location: Esfehan, Iran https://www.archdaily.com/802988/in-exterior-falahatian-yard-house-shift-process-practice [In]Exterior is an exercise in challenging the well-established conventions of designing for a second home or a retreat family house.Conventionally speaking, retreat homes are conceptualized as villas in the park with a focus on maximizing the visual access of the interiors to the surrounding natural vista through transparent exterior thresholds of a solid volume.

[In]Exterior is a family house located in a retreat village in the periphery of City of Isfahan. The suburban context of the project offers no substantial natural view or meaningful topographic variation. Hence, the spatial organization of the project is fundamentally transformed to introduce two connected semi-courtyards. Instead of looking outward at a non existing natural vista or impressive view, the project is shifting its visual focus to the inner yards, arriving at maximum transparency of the architectural thresholds where the interior spaces meet the interiorized yards.

Š Parham Taghioff

The redefinition of inside/outside relation is also deriving the material condition of the architectural surfaces.

The commonalities of surface material and texture, both in interior and exterior voids, allow for certain level of ambiguity in differentiating the interior and exterior condition from a perceptual point of view. The spatial uncertainty in identifying the borderline between in and out is further established through the introduction of sliding walls that transforms the interior yards of the project to semi-open gardens. Meanwhile, the introduction of the yards within the heart of the spatial organization of the house, allows for performative division of the house between the categorically different functions with private and public nature.

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Exterior Void

Interior Void

Home: Primary Residence

The Retreat: Secondary Residence

Costumization of the spatial diagram based on clients needs

Private

To

Semi-Public

Out

In

Maximizing the connection with the exterior context

Connecting the spatial pockets of a more public nature

Spatial organization of public and private

Arriving at the final volumetric design

© Parham Taghioff

Multipication of the courtyards

© Parham Taghioff

Transformation of the outward looking form to an inward looking courtyard typology

© Parham Taghioff

Starting with an outward looking solid form

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Sec B-B

54 © Parham Taghioff

© Parham Taghioff

© Parham Taghioff

Ground Floor Plan First Floor Plan

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© Parham Taghioff

© Parham Taghioff

© Parham Taghioff

© Parham Taghioff

Eilkhaneh Summer 2014 Shift Process Practice - Presentation and Graphic Team Location: Tehran, Iran https://www.archdaily.com/577066/eilkhaneh-shift-process-practice Eilkhaneh is our try in re-evaluating the lost values of Iranian domestic space. During the twentieth century, Iranians were rapidly modernized without actually understanding or going through the essential steps of modernity. Certain paradigms of domestic life was lost in this transition. In the capital, the city of Tehran, the city was rebuilt substantially in the span of a century. The two-story homes were substituted with four to five-story apartment buildings and urban life style was modified accordingly.

Certain traditions in conception and erection of domestic space was lost in this process, including the connection of the house with the garden, and the intrinsic complexity of interior spaces that was the product of well-crafted sectional and planar connections. Tribe House examines the possibility of designing for real homes within the framework of erecting an infill apartment.

Š Parham Taghioff

Tribe House is a four-story building that houses three residential units for members of one big family. In section, the project is a composition of continuous folded structural slabs as well as disconnected hanging surfaces. The sectional composition of the project allows of in-between spatial pockets and vertical surfaces to become partially inhabitable. In maximizing the inhabitable surfaces of the project and including the vertical architectural surfaces in the programing of the daily-life of the inhabitants, the western interior surface is designed as a composition of shelves that is produced based on exact dimensions of the day-to-day objects of the domestic life in its contemporary version. Some of the shelves are to house ordinary domestic appliances such as the TV set and the Stereo, while the others are to be used as work stations and even children’s bed.

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High-Level Concept : A paradigmatic shift from Apartment to House

Plan

Section

What is Normally done in an Inner Lot situation

Plan

Section

What we have done for the neighboring Inner Lot

Plan Plan

Section Section Plan

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What is Normally done in an Inner Lot situation

Apartment

House

Apartment

What What is is Normally Normally done done in in an an Inner Inner Lot Lot situation situation

House

Plan

Section

What we have done for the neighboring Inner Lot

Plan Plan House

What we we have have done done for for the the neighboring neighboring Inner Inner Lot Lot What High Level Concept: A paradigmatic shift from Apartment to House

© Parham Taghioff

© Parham Taghioff

Paying Attention to the inner lot’s situation

© Parham Taghioff

Apartment

Section Section

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© Parham Taghioff © Parham Taghioff How latteral views are provided through connected Balconies

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A

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1 Swimming pool 2 W.C 3 Janitor 4 Pool Mechanical Room 5 Bath 6 Mechanical Room

1 Swimming pool 2 W.C 3 Janitor 4 Pool Mechanical Room 5 Bath 6 Mechanical Room

7 Storage 8 Parking 9 Kitchen 10 Living Room 15 Roof

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Roof Plan

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11 Dining Room 12 Bedroom 13 Bath

4th Floor Plan 7 Storage 8 Parking 9 Kitchen 10 Living Room

16 Jacuzzi 17 Lower Deck Garden

14 Playroom 15 Roof

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Plan 11 Dining Room 12 BedroomRoof13 Bath

16 Jacuzzi 17 Lower Deck Garden

1 Swimming pool 2 W.C 3 Janitor 4 Pool Mechanical Room 5 Bath 6 Mechanical Room 7 Storage 8 Parking 9 Kitchen 10 Living Room B

14 Playroom 15 Roof

11 Dining Room 12 Bedroom 13 Bath

B 16 Jacuzzi 17 Lower Deck Garden

B

1 Swimming pool 2 W.C 3 Janitor 4 Pool Mechanical Room 5 Bath 6 Mechanical Room 7 Storage 8 Parking 9 Kitchen 10 Living Room 14 Playroom 15 Roof

11 Dining Room 12 Bedroom 13 Bath

16 Jacuzzi 17 Lower Deck Garden A

3rd Floor Plan

A

4th Floor Plan

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Roof Plan

Plans

59 1 Swimming pool 2 W.C 3 Janitor 4 Pool Mechanical Room 5 Bath 6 Mechanical Room 7 Storage 8 Parking 9 Kitchen 10 Living Room 14 Playroom 15 Roof

11 Dining Room 12 Bedroom 13 Bath

16 Jacuzzi 17 Lower Deck Garden

Kelak Villas Summer 2015 Shift Process Practice - Designer Associate, Design Development, Graphics Location: Kelak, Iran https://www.shift-arch.com/projects/kelak-villa-no-02/ This project was about designing group of individual villas in a villa complex. Number of best Iranian architecture firms were invited to design the most luxuries villas for very specific group of users in Kelak, a small village near Tehran. Five of the sites were given to our office for designing. Each of them were designed individually and different from the other one. But the only common feature between all of them were the luxurious programs added to them.

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Competitions

Bamiyan Cultural Center Winter 2015- Competition With Shift Process Practice Team- Co-Designer, Presentation & Graphic Location: Bamiyan, Afghanistan On High-Level Concept: The Extruded Space and the Positively Charged Void For over fourteen centuries, the two colossal Buddhas of Bamiyan had been the objects of religious devotion of pilgrims and shared fascination of visitors. By the end of the twentieth century, they had endured more than a millennium of natural degradation and human neglect, but, they were still exceptionally impressive monuments.

Yet, they were not allowed to remain untouched for ever.

With the catastrophic events of March 2001, for many of us, the story of these enigmatic statues, began at the end. Whatever motivated the destruction of the Buddhas of Bamiyan, it had the effect of outraging sentiment in the wider world, recognized as a damage to cultural heritage of mankind! This brought the subject of their existence to the front line of the collective consciousness of the world: One may think that they are even more alive in the mindset of the global community now that they do not physically exist anymore.

What none of us now have the opportunity to do is actually experience the Buddhas of Bamiyan in person!

Yet, the remaining vast voids, towering over their remote mountain valley, amaze and mystify the visitors. The disturbing presence of these two empty niches, contributes to an arresting sight and an almost intense religious experience of what can only be characterized as a “positively charged void!”

Perhaps the goal of their destruction was to create ‘nothing’ out of these overwhelming representations of culture.

The underlying assumption was that due to the nature of ‘nothingness,’ if one takes away everything that is physical, one is left with nothing, as completely empty space. But, the fact of the matter is that there is no such thing as an empty space! There is always something to see, something to hear, something to imagine, something to vie for and goal for. Hence, in the absence of the massive statues of Budhhas, the remaining void is positively charged with countless possibilities of cultural revitalization, or even rebirth.

The symbolism of the empty, but positively charged space of the niche, is used as inspiration to create deep spaces that are resultant of extrusion of an outline, conceived here as variations of sectional architectural relations.

The result is a series of extruded spaces that will host countless scenarios for fostering art, culture and intellect.

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of the wooden parts will contribute to the creation of a certain sense of historicity and in case of the need for replacement of the wooden parts, the task can again be administered as a collaborative communal effort.

This bares certain commonality with the dual materiality of the Buddhas of Bamiyan. Apparently, the soft, crumbly rock of the cliff is not suitable for fine carving, and thus only the core of the statues had been carved from the rock itself. Fine embellishments had originally been represented by means of painted clay This bares certain commonality with the dual materiality of the Buddhas of Bamiyan. Apparently, the soft, crumbly rock of the cliff is not suitable for fine carving, and thus only the core of the statues had been carved from the rock itself. Fine embellishments had originally been represented by means of painted clay 2Thus, coating,ororappendages appendages molded around wooden beams anchored in the stone, which had not the survived the time. the most distinctive feature ofofthe Buddhas Bamiyan was in their faces, in both cases from the topthe oflips, the ahair to above lips, cleanviewers vertical slice. For some viewers coating, molded around wooden beams anchored in the stone, most ofmost whichofhad not survived tyrannythe of tyranny the time.of Thus, the most distinctive feature of the Buddhas Bamiyan was of their faces, blank both casesblank from the top of the hair to above clean verticalthe slice.

Forasome theabsent absentfaces faces were essential to the impression they made. speculated the cleanslices vertical slices wereofthe sites of attachment of facial masks, built out ofmaterials. less durable materials.

Service Area the were essential to the impression they made.

SomeSome speculated that thethat clean vertical were the sites attachment of facial masks, built out of less durable Asfor forthe themassing massing project, in relation topedestrian the pedestrian circulation scenario that is envisioned forthe thelocalized site, theporosity localized porosity of the extruded building, in relationtopography to constructed proposed fora the site, allows for a seamless circumambulation around and through the erected As of of thethe project, in relation to the circulation scenario that is envisioned for the site, of the extruded masses of themasses building,ofinthe relation to constructed that istopography proposed forthat theissite, allows for seamless circumambulation around and through the erected massesand andexcavated excavated voids of the continuous wandering of the siteitsalong its and exterior andcorridors, interior corridors, can be envisioned the social aspect of the again, complex. again, bears certain commonality with the theReportedly, Buddhas of masses voids of the site.site.

ThisThis continuous wandering of the site along exterior interior can be envisioned as the socialas aspect of inhabitation of inhabitation the complex.ofThis, bearsThis, certain commonality with the spatial experience ofspatial visiting experience the Buddhasofofvisiting Bamiyan. theBamiyan. statues Reportedly, the statues wereattached attachedtoto back of the of their niches theoflevel theofhem their clothing to the backs of their heads, an arrangement which had the important Buddhist ritual of circumambulation: worshippers couldwalk around the statues both at ground behind were thethe back of the wallwall of their niches from from the level the of hem their of clothing up to theup backs of their heads, an arrangement which had facilitated the facilitated important Buddhist ritual of circumambulation: worshippers couldwalk around the statues both at ground level, behind their huge level, bare feet, and their huge bare feet, and Main Enterance behind of of their heads. behindthe thetops tops their heads.

The façade of the proposed building masses minimizes the heat loss of the theduring cold months which will contribute a more sustainable mechanical performance of the project. Thisofisthe coupled withThis the is incorporation of athe solar energy harvesting system in theharvesting landscape,system which in the landscape, which Therelatively relativelyclosed closed façade of the proposed building masses minimizes the heat lossinterior of thespaces interiorduring spaces the cold months which willtocontribute to a more sustainable mechanical performance project. coupled with incorporation of a solar energy will contribute to self-sufficiency of the complex in terms of its energy needs. will contribute to self-sufficiency of the complex in terms of its energy needs.

Parking Area

CITY

CITY

CULTURAL CENTER

CULTURAL CENTER

CITY

CITY

CLIFF

CLIFF

Vehicular Circulation

Area= 490 m Area= 530 m

Project massing in urban context

Visual dialog between the project and greater context

BCC1827

Visual dialog between project Visual dialog between the projectthe and greater contextand greater context

Project massing in urban context Project massing in urban context

Future Expansion

Greywater

Extruded space and positively charged void

Sectional variations possible

Water Well

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Recycled Water

Extruded space and positively charged void

Extruded space and positively charged void 14

Clean Water

Farming Field

Sectional variations possible

Indoor Gardening

Water Treatment

Farming Field

Water Pool

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Farming Field

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Water Distribution/Collection Network

Green Patches 17

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Main Enterance

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Solar Farm

Secondary Pedestrian Circulation

From varified extrusions to project massing

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4 3 Solar Energy System

Plan Sc:1/200

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1. Classrooms 2. Workshop Studio 3. Storage 4. W.C. 5. Room 6. Research 7. Room 8. Library 9. Study 10. Conference Room 11. Performance Hall 12. Dressing Room 13. Lobby 14. Kitchenette 15. Administration Offices 16. Retail Store 17. Mechanical Room 18. Collection Storage 19. Tea House 20. Lobby 21. Storage 22. Office 23. Permanent Collection 24. Temporary Collection

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Parking Area

Vehicular Circulation

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SEC-K Sc:1/100 Area= 490 m Area= 530 m

Future Expansion SEC-A Sc:1/100

SEC-B Sc:1/100

To fulfill the vision of Ecological, Social, and Economic Sustainability, every detail of the project from the materiality and construction which is from local material and with local construction methods to the water system and greenery of the project, to the openings and security system of the project were to designed based on the local technologies, needs and helps.

SEC-D Sc:1/100

SEC-E Sc:1/100

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Greywater Clean Water Water Well Recycled Water Water Treatment Water Pool

From varified extrusions to project massing

Irrigation Network SEC-H Sc:1/100

Water Distribution/Collection Network

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2 Plan Sc:1/200

1. Classrooms 2. Workshop Studio 3. Storage 4. W.C. 5. Room 6. Research 7. Room 8. Library 9. Study 10. Conference Room 11. Performance Hall 12. Dressing Room 13. Lobby 14. Kitchenette 15. Administration Offices 16. Retail Store 17. Mechanical Room 18. Collection Storage 19. Tea House 20. Lobby 21. Storage 22. Office 23. Permanent Collection 24. Temporary Collection

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1. Classrooms 2. Workshop Studio 3. Storage 4. W.C. 5. Room 6. Research 7. Room 8. Library 9. Study 10. Conference Room 11. Performance Hall 12. Dressing Room 13. Lobby 14. Kitchenette 15. Administration Offices 16. Retail Store 17. Mechanical Room 18. Collection Storage 19. Tea House 20. Lobby 21. Storage 22. Office 23. Permanent Collection 24. Temporary Collection

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On Vision and Design Strategies: Ecological, 19 21 22 13 Social, and Economic Sustainability We envision that parts of the project landscape are dedicated to collaborative farming. Hence, 19 24 production of seasonal and regional food 23 becomes a social act of culture that the community will engage in. In conjunction with the educational facilities of the complex, the farming patches will function as hands-on laboratories to educate the community about up-to-date agricultural techniques and technologies.

SEC-A Sc:1/100

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Temporary support for erection of the arc

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Reinforced concrete foundation base Reinforcing bar

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Temporary support for erection of the arc

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Reinforced concrete foundation base

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Reinforcing bar

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60c

60cm Thick structural brickwall

Rom

Roman Arc

Int Bric Ext

Brick connections between two roof tiers Exterior roof tier

Construction Method

Temporary support for erection of

Reinforced concrete foundation b Reinforcing bar

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SEC-E Sc:1/100

BCC1827 exceptionally impres-

mankind! This brought

g sight and an almost

the fact of the matter ultural revitalization, or

scenarios for fostering

n as hands-on labora-

chitectural thresholds s of aging and erosion

1. Enterance Check Point 2. Parking Area 3. Solar Farm 4. Water Pool 5. Indoor Gardening 6. Access Corridor 7. Classrooms 8. Outdoor Class Space 9. Workshops and Studio 10. Research Centre and Library 11. Performance Hall 12. Conference Room 13. Lobby / Administration OfďŹ ces 14. Sculpture Garden 15. Exhibition Space 16. Loading Area 17. Service Enterance 18. Future Expansion Area 19. Observing deck 20. Auditorium

Farming Field

18 14 13

Indoor Gardening Farming Field

15 16

11

Farming Field

Green Patches 17

9

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7 10

means of painted clay ice. For some viewers

Primary Pedestrian Circulation

d through the erected eportedly, the statues ir huge bare feet, and

20

Main Enterance

6

the landscape, which

Secondary Pedestrian Circulation

5

Pedestrian Circulation

19

CITY

3

1

4

2 Service Area

Main Enterance

Parking Area

Vehicular Circulation

Wall Section Area= 490 m Area= 530 m

Future Expansion

Greywater Clean Water Water Well Recycled Water Water Treatment Water Pool Irrigation Network

Water Distribution/Collection Network

SEC-F Sc:1/100

Photovoltaic outdoor lighting system

Solar Farm

From variďŹ ed extrusions to project massing

SEC-F Sc:1/100

Solar Energy System

Sec F-F Enterance Check Point

Site Security

SEC-K Sc:1/100

SEC-G Sc:1/100

Sec G-G

69 SEC-G Sc:1/100

Qebleh Square Winter 2015- Competition With Shift Process Practice Team- Presentation & Graphic, Urban Analysis and Co-Designer Location: Mash’had, Iran Because of being next to the two main entrances Imam Reza holy shrine, and also being near the important commercial centers like Reza and Carpet bazaar of Mashhad, this is a strategic project in city and regional scale.

In the levels beneath the city there are various programs added to mainly serve the pilgrims as well as public. In the level of the city the Qebleh square have this opportunity to become the most important square of the city as well as being an interface between the holy shrine and the rest of the city of Mashhad.

Besides designing the square itself with multiple levels underneath with many commercial and public programs, the other focus of project was about addressing a wider scale in the city. In the urban scale there two important ideas were given for the competition, one was the Urban Ring surrounding the whole Shrine and the second one the designing of the Compact urban fabric in the southern side of the square.

In the design of the Urban Ring, based on the framework of the geometry of the design, many moving spaces, urban pausing spaces, green spaces and urban elements were designed and added to homogenize the surrounding context of the shrine which the square will be the part of it.

For the second part, the suggestion was an Art & Culture Path which will renovate and improve the urban context and it will regenerate the compact urban fabric with no specific program in 2 to 3 decades. This part will be a collection of collected urban courtyards consisting of various buildings no higher than 5floors in them. The program for this district will be an urban destination in the city, national and international which will be an area to promote the Islamic Art and Culture. Each of the courtyards will have a unique theme of the Islamic art and culture. Each courtyard is consist of a public garden in the middle and programmed buildings surrounding them, with activities such as gallery or store in the first and ground level and living on the upper levels. These building will serve a work-living program in the city which people want to stay in it.

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Shrine Qebleh Square Reza Bazzar Extension Reza Bazzar

Suggesting a functional ring around the shrine

Islamic Art & Culture Path

Connection of the square to the functional ring and suggesting a new urban program for the urban fabric south of the site

Connection of the square to the functional ring in ground floor

Connection of the square to the functional ring in level of -1

Contextual process of Qebleh square design

Access to different levels

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Fountain

Typology of context’s urban fabric

Intersection of urban green corridors and the suggesting urban ring

Fountain

Bench+Stairs

Intersection of surronding projects and suggesting urban ring

Bench

Bench

Bench

Bench+Stairs Intersection of accessability to the shrine suggesting urban ring

and

Bench

Green Space

Intersection of pedestrian and vehicular accessabilities and suggesting urban ring

Green Space

Green Space

Green Space

Vertical accessability of the suggesting urban ring

Small Commercial Stand

Suggested programs for the ring of the context based on linear design

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Small Commercial Stand

Suggesting an Art & Culture Path and making a collection of connected urban courtyards Main accessibility paths accessability road in the urban fabric Secondary accessability paths level 1 Secondary accessability paths level 2

Compact urban fabric

Accessability

City blocks

Various building types in the Art & Culture Path

City Renovation Regulations

Vacating the compact blocks based on the City Renovation Regulations

Connected urban inner gardens

Process of desiging the Art & Culture Path

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Enghelab Interactive Square Fall 2014- Competition With Shift Process Practice Team- Co-Designer, Presentation & Graphic, Location: Tehran, Iran Throughout the social- political history of Tehran, Enghelab square was always an urban space for the citizen’s participation in their social and political destinies. But the square was always design in a way that it did not give the inviting sense to public to be in the square. It was always like a monument for people to look into rather than being part of it.

In the interactive suggested project, the citizen physical presence is the main goal of the design and its order in the square. The project is based on an interactive urban scheme. The suggested plan of the group, is an interactive public art which will respond to the physical and virtual presence of the citizen and it will change its shape based on that. People can participate virtually by logging in to the special website designed for this urban monument.

The project is a collection of interactive units, which each of them is equipped with a presence sensor, a hydraulic actuator, a computer processor and a wireless communication unit. Each of these interactive units are able to change their position based on the physical presence of people on them or based on the order received from the control center in the mobile system. As a result, at any time, each of these interactive units will change and make a new form in the whole square. Also for facilitating the accessibility to the project, there are four different pedestrian underpasses suggested.

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A square to SEE

A square to BE

Interaction with the square as individuals because of physical presence

Interaction with the square as group because of physical presence

Interaction with the square with hamgam.ir website and designing the square

0.50

In the process of changing the shape of Enghelab square because of the physical interaction of citizens, in each of the cubic interactive units, the presence sensor record the presence of the citizen and the high of the unit will increase based on the time that person will stay on the unit. The high of the unit will be updated in the data center by a text that will be send to it. At the same time the height of the surrounding units of the base unit will change in accordance to the base unit’s height and the distance of it from the other units. This will be send and got back by mobile text.

0.10 0.40 0.10 0.40 0.10 0.40

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Detail of movement and digital detail of the movements

Detail of each of the 60x60x60cm boxes

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www.hamgam.ir

Home Gallery

FA EN

Hamgam.ir is the virtual interface to contribute volumetric designs as individuals or as a design team for the interactive sculpture located at Enghelab Square in Tehran, Iran.

Enghelab square, is and has always been associated with the active presence and contribution of the Iranian citizens in making and re-making their socio-political future. The installed interactive sculpture is proposed as a celebration of more than a century of Iranian active citizenship. The sculpture responds to actual or virtual presence of Iranian citizens by dynamically changing its shape according to their input.

Be an Active Citizen, Make Your Own Mark Username:

Golnaz.Gh

Password: Login we are 16401 strong!!

Join us!

www.hamgam.ir/golnazghorbani

Home Gallery new

Load Submit

Golnaz Ghorbani

FA EN

Golnaz Ghorbani

FA EN

Golnaz Ghorbani

FA EN

Individual Group

Save

The first page of the designed website for virtual interaction with Enghelab interactive square. This pages gives information about the project and also the user can get into the system by entering a username and password.

Project Name: Fluid Waves Members: Golnaz Invite Friends: + Mohsen.kh1001@yahoo.com + Mazyar.a@gmail.com + Ehsan.k28@gmail.com + Email

Add

www.hamgam.ir/groupwork/golnazghorbani

Home Gallery Alaleh Height: 0.8m

Group work Save Load Submit

The page of the project which will let the user to create him/her individual or group project. This page allows the user to load a previously designed project, to save the changed project or to register the final shape of a new project. These saved projects will be presented on the square in the times that the square is not being used by the people in real. Based on the popularity and the date of the project they will be present in order.

This website has a space for graphically interacting with the volume of the Enghelab interactive monument. In this graphical space, the user is able to zoom, pan and orbit around, and at any time by right clicking on each of the 3D models of the units, can change the height of that unit. Left clicking can make the unit to decrease its height.

Golnaz Height: 1.6m Project name: Fluid waves Members: Golnaz Mohsen Ehsan Maziar Mehrasa

www.hamgam.ir/gallery/mostliked

Home Gallery Most Visited Most Liked Followers Following

Allah

by Hadi

visits Like Dislike

Search

1250 438

Lines

by Mehrdad

visits

998

Like

301

Dislike

9

#13

by Mahdi

visits

540

Like

261

Dislike

13

3

By people name

By project name

type project name here search

auditorium by maziar

visits

380

Like

136

Dislike

76

5

Maze by sara

visits

406

Like

85

Dislike

36

domes by peter

visits Like Dislike

264 36 1

All of the projects made on the website are saved in the gallery of the website and it is accessible for public to surf through them. All the users are able to like their best project in the website. These virtual schemes will be uploaded in Enghelab square based on their popularity, while there is no citizen on the units themselves.

+5 min +4 min +3 min +2 min +1 min

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Pasargad Bank’s Headquarter Summer 2013-Competition-Ranked 1st With BNS Studio Team- Co-Designer , Presentation & Graphic Location: Tehran, Iran Ranked 1st in Pasargad Bank Headquarters Competition 2013 This building is located on a 2,835.88 sq m property, which is the result of accumulation of 4 different lots between 2 Streets. This project with 20 is an extension to the existing 10 stories building. The main idea for designing is to create a modern social landmark in the city in grate harmony with the existing building. Tehran with high population and high density is suffering from lack of investment in open public spaces. A large open Plaza with a public cafÊ and bank central branch at street level is designed to connect the building to the surrounding neighborhood, making this building an important component of the district. This plaza creates a place for informal gathering and social interaction at different hours. Design of the building is inspired by architectural elements of ancient Pasargad palace such as gardens, porches and Columns to show the glory and dignity of Pasargad Bank.

For this purpose, garden terraces, double height columns and porches was used in different parts of the building.

Another urban design aspect of this project is to create green terraces in different levels especially from the south elevation. These terraces besides providing building occupants the opportunity to relax in pleasant environment, offer enjoyable views to low-rise neighbors. The upper levels belongs to administrative which is designed as modular open offices. Administrative levels are divided into three different zones : Management, employee and the transitional zone which host a public space for relaxation, social interaction, staff training, meetings and etc.

Sustainable Design - Using green spaces inside and outside the building. - Considering double skin façade for controlling natural light and energy consumption. - Create a central core to have air circulation and reducing temperature.

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Roads and access

Pedestrian Paths

Urban Joints

Views and Perspectives

High-Rise building in the region

Magnetic effect of the Urban Plaza Sites Urban Analysis

Security and Saftey during the night

Skyline

An urban joint over the district

The building infuse various programs to the district

Green roofs and green facades

The buidling play an important role in the urban nightlife

High Level Concept

Design Process

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Function of Spaces

Green and Open Spaces

Air Ventilation

Functional and Sustainability Considerations

Green Plaza

Various facilities are suggested in the public plaza to serve citizens

Public Plaza in the ground floor in the urban scale

View from the Public Plaza

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Public Plaza for any age with any needs

Green Roof Perspectives

Ground Floor Plan 0.00

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Shams Tabrizi Monument Summer 2012-Competition-Ranked 3rd With BNS Studio Team- Co-Designer , Presentation & Graphic Location: Khoy, Iran Rankded 1st in MIDDLE EAST ARCHITECT AWARDS 2014 (Community and Cultural Project of the Year) http://www.designmena.com/thoughts/winners-announced-for-middle-east-architect-awards-2014 Undoubtedly Shamsedin Tabrizi is one of the renowned greatest Sufis whose role in Islamic history and knowledge has been revealed within the presence of Rumi.

Mirmiran Architectural Foundation prepare a competition for designning a muselumein for Shams Tabrizi in Khoy-Iran.

Historical researches which were conducted on the city of Khoy and the chosen site concluded that this part of the city encompassed gardens and agricultural lanss which has been replaces by streets and residential areas.

This fact triggered the idea of re-using linear geometry and square strips. Monument wasdesigned in form of garden-tomb,making it possible for visitors to roam around it.

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Site Plan

Section A-A SC:1/250

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Mirmiran Annual Competition Winter 2013- Ranked 1st With Nilufar Ghorbani The title of Mirmiran association annual competition of year 2013 was Future Architecture. Designers were invited to conceptually think of future architecture and give their ideas in one board. Our team try to send its message in the simplest way.

The future is not that far and obscure, the future is now, very near. We can build our future if we try to. We can increase trees and green spaces in our cities instead of building factories, instead of increasing the number of cars, instead of polluting our cities, instead of cutting them. The future can be simple as this if we want to build it better than what we have now.

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Mirmiran Annual Competition Winter 2013- Honorable Mentioned With Nilufar Ghorbani The title of Mirmiran association annual competition of year 2013 was Future Architecture. Designers were invited to conceptually think of future architecture and give their ideas in one board. Our team try to send its message in the simplest way.

Future can be like a dream world, can be a colorful, safe and happy.

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Graphic Designs

Shift Process Practice Branding Spring 2015 Shift Process Practice- Co-Designer, Production Process Leader With Mohsen Khanmohammadi In the process of advertising the office and to develop a new brand for the studio, the project for designing the firms Logo and all the branding package plus the new office portfolio was given to us for designing. All of the design are simple and minimal to represent the principals of the designs in shift process practice. The whole branding and production process was led by me.

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