Kiana Sadeghi
e-mail mobile
birth date
sadeghi.kiana2002@ gmail.com
+98 915 822 6641 June 17, 2002
Accomplishments
Dec2024
Awarded a straight Masters degree at the University of Tehran, bypassing the National Masters Konkour Entrance Exam, in recognition of being among the top GPAs of the 2020 Bachelor of Architecture enrollees
July2020
Top 1% in the National Entrance Exam (Konkour) from over 155,000 test takers
Education
Nov2020-Feb2025
Bachelor’s Degree, Architecture, College of Fine Arts, University of Tehran
Sep 2017
Passed the Exceptional Talents Exam and granted entry to Iran’s top SMPAD (National Organization for the Development of Exceptional Talents) senior high schools
Sep2017-Jun2020
Associate Degree, Mathematics, Farzanegan School
Work Experience
Oct2024-Present 3D Concrete Printing Technician and Additive Manufacturing Research Assistant, American Concrete Institute, Iran’s Chapter, Tehran, Iran
Academic Experience
Aug2024
Des2023
Des2023
Oct2023
Publications
Aug2022
May2022
Researches
& Articles
Feb2024
Feb2024
Jul2023
Jul2023
Apr2023
Apr2023
Competitions
Mar2024
Aug2023
Jun2023
Programs and Skills
3D Design Programs
Visualization Programs
Adobe Applications
Quantity Surveying softwares
Language Skills
Docomomo Workshop; Adoptive Reuse, College of Fine Arts, University of Tehran
GEOMARS 3D Ceramic Printing Workshop, College of Fine Arts, University of Tehran
Scissor Structure Workshop, College of Fine Arts, University of Tehran
Parametric Design and Digital Fabrication Workshop, College of Fine Arts, University of Tehran
Generations in Passage, Dariche Print Magazine, Issue 9
Translation of “Invisible Cities: Rethinking the Refugee Crisis Through Design” by Cristina Mateo, Dariche Magazine, Issue 8
Guardians of History: Conservation Practices at Ali Qapu Palace, Class Project, Teamwork, Instructor: Prof. Pirouz
Hanachi, Seventh Semester, BArch, College of Fine Arts, University of Tehran
Memorializing the Fallen: An Analysis of the Vietnam Veterans Memorial, Class Project, Individual, Instructor: Prof. Pirouz Hanachi, Seventh Semester, BArch, College of Fine Arts, University of Tehran
Unveiling the Chains: The Azadi Tower Experience, Class Project, Individual, Instructor: Prof. Saeed Khaghani, Sixth Semester, BArch, College of Fine Arts, University of Tehran
A Struggle for Survival: From Eastern Narratives to Contemporary Realities, Class Project, Individual, Instructor: Prof. Saeed Khaghani, Sixth Semester, BArch, College of Fine Arts, University of Tehran
Navigating the Digital Landscape: Iran’s Journey Between Tradition and Modernity, Class Project, Individual, Instructor: Prof. Saeed Khaghani, Sixth Semester, BArch, College of Fine Arts, University of Tehran
Nature as Blueprint: Analysis of Ian L. McHarg’s “Design with Nature”, Class Project, Teamwork, Instructor: Prof. Elham Andaroodi, Sixth Semester, BArch, College of Fine Arts, University of Tehran
120 Hours competition, International Competition, Teamwork
Kooche’s Office Renovation Project, Internal Competition, Teamwork
Shoniz Booth Design, Internal Competition, Teamwork
Rhinoceros 3D
Grasshopper 3D
SketchUp
Lumion
Adobe Illustrator
Adobe Photoshop
Microsoft Excel
Farsi|Native
Spanish|Elementary Proficiency
AutoCAD
Autodesk Revit
Enscape
Adobe InDesign
Adobe After Effects
English|Advanced
Monster
Instructor: SeyedAli Derazgisoo
Tutor: Mona Lavasani, Yaser Karimian
Primary Code: Kiana Sadeghi Code and Final Fabrication:
Project description
The course focused on the history of computational design and teaching the Grasshopper plug-in. The students were asked to work on distinguished case studies and design a project of their own. The next step was creating prototypes to find experimental solutions to their designs’ problems. The prototypes were presented to the class and students voted for the best design.
The design is formed based on bending-active concept. In this process for reaching the ideal stress tolerated in the form, spring steel sheets (thickness=0.3 mm) that were resilient in the bending range were chosen. Each slab with its unique shape, overlaps with others and shapes the final form, placed in three layers.
In this course parametric modeling, algorithmic thinking, team work, experimental fabrication and the experience to build in real-life scale and dealing with its challenges were made possible.
The initial coding of this project was completed by me. Following that, I participated in the prototyping and assembly processes. Finally, I contributed to the creation of a project booklet.
Geometry
A three-dimensional net consisting of linear components
Fabrication Code
Polysrf
A ramal mass using multipipe
Tri-Mesh: Breaking the polysrf of the form into ribbons with unroll, was done by Ivy plugin. Ivy does this by creating a graph on the triangulated mesh.
Checking the ribbons for overlapping faces and then Comparing the ribbons with the initial mesh to find gaps which need a third layer. Creating a short graph for two faces ribbons of the third layer
Splitting the form to simpler sections for construction part and adding a tag for each part
To refine the form, the free end of the branches were curved.
Offset mesh: offset distance=material’s thickness=0.3mm for the upper layer
Finding the repetitive pattern which is missed
Two upper and lower layers were created. To make sure they’re perpendicular, the lower layer graph should have been based on the upper layer graph. Which means the weight of the upper layer graph was used to create the lower layer graph.
1. Initial upper layer graph weighting based on mesh faces angles ribbons based on the new graph
2. Initial lower layer graph creating graph based on upper layer mesh weight ribbons based on the new graph
Ivy Graph
Subjoining the third layer above them to complete the pattern
Layer arrangement order
Sanctum of Harmony:
Reviving Nature and Spirituality in Modern Iran
Concept Design
Project description
Situation and Task:
In today’s world, where religion often takes a backseat and borders appear increasingly arbitrary, there are forces at work attempting to divide Iranians into “us” and “them.” This polarization poses a significant threat to the rich unity that has historically defined our nation. In this context, what can bring Iranians back to the table?
This question deeply resonated with me, prompting me to explore how Iran’s architectural heritage can inspire contemporary dialogue about unity and transformation. I believe that our architectural legacy holds the potential to bridge divides and foster a sense of shared identity among Iranians today.
Action and Result:
I envisioned a sanctum that embodies the ancient Iranian reverence for nature, integrating the Tree of Life and the four elements to create a space where spirituality and environmental stewardship converge. In a time when ecological degradation is rampant, this sanctuary aims to educate and inspire future generations to respect and cherish their natural surroundings while fostering a sense of collective identity in a culturally diverse society.
Now, I have developed a profound connection to the concept of sanctity within Iranian history—an appreciation I had not fully grasped before. This led me to revisit the project in 2024, where I utilized my computational design skills to envision a sanctum where the branches of the tree of life itself contribute to the creation of the structure. The sanctum appears to have a shell encased by the tree of life’s branches, integrating nature and spirituality into the design, a sanctuary inspired by the Tree of Life, born from the very branches of trees themselves.
Triad Housing Complex
Architectural Design V- eighth semester-2024
Individual/Academic
Instructor: Prof. Alireza Einifar, Prof. Ameneh Bakhtiar
Project description
Situation and Task:
We were assigned to select a site in the 6th district of Tehran, Iran, for the design of a housing complex consisting of 80 to 100 units.
Action and Result:
I opted for a location adjacent to Hemmat Highway, driven by my critical view of the mundane housing developments that typically line major roadways. My objective is to introduce a distinctive approach that diverges from conventional designs. I envision a residential architecture that draws inspiration from the vibrant character of the neighborhood, promoting a deeper connection between the community and the city.
A central element of my concept is the rooftop design. Although a waffle structure roof may appear simplistic, I believe its uncomplicated nature enhances both functionality and vibrancy. This design has the potential to breathe new life into existing buildings, which often lack warmth and a sense of community. By transforming rooftops into engaging, usable spaces, we can create an architectural solution that enriches the living experience and positively influences the urban landscape.
Why Triad?
Hemmat Highway
Doostan Park Street
The Site I Chose for the Project
Added streets
01. One approach to infuse the housing complex with the liveliness of the streets is to create open spaces between the blocks of buildings. This will reduce the likelihood of the complex becoming isolated, which is a common issue in many cases.
Gradually reducing the height of the blocks near Doostan Park can create a friendlier-looking street. Meanwhile, taller blocks near Hemmat Highway provide passengers with an opportunity to view the complex.
02. One approach to enhance privacy for residents in each block is to incorporate courtyards. These shared outdoor spaces can provide a tranquil environment for relaxation and social interaction while maintaining a sense of separation from neighboring units and street.
Creating gaps between units to provide each resident with a balcony of green space and enhance natural light and ventilation.
03. One approach to transform the typical dead facades adjacent to highways is to integrate a wooden roof. The dynamic nature of these rooftops can capture the attention of passing drivers, turning what would typically be a dull view into an engaging and lively scene.
Fitness/Yoga Studio
Co-working Space
This unit is designed for a family of four. In addition to the master bedroom, it also has a large bedroom for two and a smaller bedroom that can be rented out.
This economical unit is designed for a family of five to six.
Alvand Community Center
Architectural Design IV- seventh semester-2024
Individual/Academic
Instructor: Prof. Ayoob Alinia, Prof. Hamidreza Ebrahimi
Project description
Situation and Task:
The task involves selecting a site in the 6th district of Tehran and designing a local community center that will serve as a hub for local activities in the post-pandemic era. The goal is to support the growth of a vibrant, interconnected community.
Action and Result:
I took the initiative to select a steep site because I had a clear vision of addressing the disintegration caused by major roadways, which were physically and socially dividing the neighborhood. The fragmented nature of the area, with roads like Nelson Mandela Boulevard cutting through the community, created a sense of isolation and disconnection, making it difficult to perceive the neighborhood as a unified whole. To tackle this, I envisioned a community center that could serve as a bridge—not just in the physical sense, but also in fostering social cohesion.
Concept Design Diagrams
Districts’ Borders Highways
Major roadways divide many neighborhoods in Tehran. In some cases, highways cut directly through districts, effectively severing parts of neighborhoods and disrupting social connectivity within these areas.
The Site I Chose for the Project I chose this site because, to me, it represents the intersection of a neighborhood divided by Nelson Mandela Boulevard. My goal was to connect the two fragmented parts: one vibrant and the other deserted due to urban developments.
Districts
6
District 6, where my site is located, is situated on the steep lands of Tehran, within the Arjantin viewpoint area. This geographical feature makes it one of the few highlands in the city, amplifying the disintegration within the neighborhood.
First, I arranged the blocks of my project in such a way that their rooftops can be utilized as part of the Arjantin viewpoint for citizens, ensuring that the view is not blocked. Furthermore, these blocks provide easy access for citizens to the boulevard, which lies in the lower lands.
I added a bridge, fostering access to the previously uninhabited land. This bridge not only improves mobility but also transforms the area, making it vibrant and lively, where once it was idle and disconnected.
Project Overview
01. Demographic Diversity
District 6 features a diverse population, including middle to upper-middle-class residents, young professionals, families, and elderly individuals. This demographic mix makes it an ideal location for a community gathering venue focused on local engagement.
02. Entrepreneurial Hub
The area is home to a vibrant entrepreneurial scene with co-working spaces, startups, and SMEs. Our project includes a co-working space designed to support local entrepreneurs and foster collaboration.
03. Youth Engagement
District 6 lacks safe and engaging spaces for youth. The proposed teen lounge will offer teenagers a positive environment for social interaction and personal development, addressing their unique needs.
04. Cultural Experience
With landmarks like the Arjantin viewpoint, District 6 attracts visitors seeking recreational activities. Our cafe will provide a relaxing space where visitors can enjoy coffee and scenic views, enhancing the cultural experience.
05. Intergenerational Connection
The mix of young people and elderly residents highlights the need for inclusive spaces. The junior high court will facilitate intergenerational engagement through shared activities, promoting connections between teens and elders.
Tehran Performing Arts Center
Architectural Design III- sixth semester-2023
Individual/Academic
Instructor: Prof. Saeed Haghir
Project description
Situation and Task:
We were assigned to design a performing arts center with a floor area of 3,000 square meters in Tehran’s District 2.
Action and Result:
During the course of this project, I embraced the concept of introverted architecture as a response to the fragmentation between avant-garde and mainstream art forms. I was intrigued by the idea of creating a space that reinforces and celebrates this divide, providing a sanctuary for avant-garde artistic practices.
However, as Professor Haghir encouraged us to explore negative spaces in our design process, I envisioned a performing arts center that serves the unique needs of avant-garde artists while offering moments of interaction and reflection.
The result is an architecture that embodies avant-garde principles while creating purposeful spaces for engagement.
Initially, I was inspired by the story behind Pink Floyd’s The Wall album. Roger Waters, frustrated by the large crowds at their mainstream concerts, confided in his psychologist that he wanted to build a wall between himself and his fans. This idea of separation resonated with me, and I realized that what the Iranian cultural landscape truly needed was an avant-garde performing arts center. A space for avant-garde artists to showcase their work, catering to an audience that values innovation and non-mainstream art. It would be a place that draws a clear line—a wall—between avant-garde expression and popular culture.
Later, Professor Haghir encouraged us to conceptualize our projects as characters. This exercise emerged from the idea that the difference between architecture and buildings is that architecture has character. I imagined my art performance center as a strong, masculine, gay woman, which aligns with my previous idea of building a wall This woman, like a wall, would only allow those who are like her—other women—into her space, while keeping others out, just as a wall does, preventing anyone from crossing the boundary.
To achieve our architectural form, we initially shaped negative spaces using shaving cream, guided by our analysis of site energies. This process was largely intuitive and aimed to define our project as a dynamic spatial sequence characterized by tangents and diagonals rather than traditional axes. We proposed an interweaving of public squares, interiors, and passageways to energize and densify the area. The intersections of these urban elements are designated as public spaces. Once we established the shape of the negative spaces, we proceeded to design the form of our project.
House of Hide and Seek
Architectural Design II- fifth semester-2023
Individual/Academic
Instructor: Prof. Saeed Khaghani
Project description
Task:
During the course, Professor Khaghani encouraged us to design our future homes through non-fiction and scenario writing.
Scenario:
Sneaked a peek midway through counting.
Saw her from the bedroom window, hiding in the balcony.
Poopak thinks of herself as an eerie and complex teenager. She is distant and her interactions are as brief as eye rolling. Therefore, It is unpleasant to be around her snarky attitude.
Khosrow is waiting for inspiration to strike. He, Just like any other writer, believes staying away from those who he calls a distraction is the way of overcoming terminal writer’s block.
Soleiman, Unlike Poopak, has not found the so-called field of talent. However, he is mastering the art of Happiness.
Action and Result:
Despite the residents desire for solitude, personal spaces are spread through levels and walls are removed to give the family a sense of loved one’s presence.
Through non-fiction and scenario writing, accompanied by sketches depicting my day-today activities with my family, I began to form my initial understanding of how my family functions. I observed that while family members often engage in their own activities and may occasionally be at odds with one another, the home serves as a unifying space that connects them. A daughter might be painting, a father writing, and a son playing with his cat; with each laugh from the son, others sneak a glance and then return to their own pursuits. These experiences and observations have influenced the vision I have for my future home.
The Seven Stages (Haft Khan) of Crime
Architectural Basic Design III- third semester-2022
Individual/Academic
Instructor: Prof. Eisa Hojjat, Prof. Parastoo Eshrati
Project description
Task:
As we explored various architectural domains throughout the course, we were ultimately assigned a project centered around a single concept: “Haft Khan.”
Situation:
“Haft Khan” is a complex notion in Farsi, rich with multiple interpretations. The word “Khan” can refer to a house, stage, or even titles of nobility, while “Haft” means seven. However, in Farsi, numbers can carry metaphorical significance, suggesting abundance or intensity rather than a literal count. Additionally, “Haft Khan” is a term found in the Shahnameh, further enriching its meaning. This ambiguity allowed us the freedom to interpret “Haft Khan” in our own unique ways and to design accordingly.
Action and Result:
For me, “Haft Khan” marked my inaugural attempt to breathe life into a new reality through architecture. In this project, I envisioned a loop where individuals enter a reality from which they cannot escape, mirroring the idea of being born into a system we cannot avoid—a cycle of crime that traps us in our own existence.
Loafing Around
2023-Present
Description
As I stepped into my family’s bread baking business, I discovered that the sourdoughs I create serve as an extraordinary medium for my artistic explorations. Each loaf becomes a canvas on which I can express myself—my obsession with interlocking layers and vibrant colors that scream for attention.
From left to right:
A vibrant sourdough bursts apart, Shattering shadows with a fiery heart.
In the oven’s embrace, it springs to life, A riot of colors, a dance of delight. Second, a rustic all-rye loaf, Brutalist in form,
A morning sustenance, Grounded before the storm.