Laleh Sadeghloo | Selected Works 2018

LALEH

SADEGHLOO

U N D E R G R A D UAT E

PORTFOLIO

Application for Master Of Architecture Institute of Architecture, University of Applied Arts Vienna 2018

L A L E H

S A D E G H L O O University of Tehran Faculty of Fine Arts architecture department

-CONTENTS HONORS AND AWARDS | 2015-2017 | Design Excellence Award for Design Studio Project Each Year | University of Tehran, Iran

01

ONE THOUSAND AND ONE NIGHTS MUSEUM

A Museum for telling A Story Final Thesis Project | Individual Work | Fall 2017

2017 | Honorable Mention for Fanavard National Competition Pardis Technology Park Entrance Design, Tehran, Iran

02

2016 | Best project for “EVOLUTION” (a home for a painter) The 6th Domus Academy Interior Design Summer School, Tehran, Iran

Lale.sadeghloo@gmail.com +989124045865

2016 | UTF Scholarship for First Class Degree 2015 | One of the Best Short Stories in Gardoon Massive Open Online Course (MOOC) Published on “ketabe dovvom”, Gardoon Publication, Berlin, Germany

For me, in architecture, beyond drawing lines and creating forms, the most crucial issue is awareness.

Awareness of the moments which will pass by my construction, or could have passed: cognizance of the concealed and the conspicuous, the ethereal and the tangible, the grotesque and the beautiful.

To achieve such awakening, besides buildings, I mingle my fascination with drama, literature, film, music, dance, and all the things helping me to see the big picture, for I believe everything is connected.

EDUCATION

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2013-2018 | University of Tehran | College of Fine Arts | Tehran, Iran

High School Diploma in Mathemathics and Physics National Organization for Development of Exceptional Talents (NODET)

2013-2018 | Iran’s National Elites Foundation (INEF) Scholarship

2012 | Silver Medal at 22nd National Chemistry Olympiad, Tehran, Iran 2006 | Selected as an Exeptional Talent by NODET, Iran

COMPETITIONS |

Interior design assistance for Iran Historical Car Museum & dafine museum projects Create physical and digital models, diagrams and technical drawings Visualize images and prepare presentations

2016 | Researcher | Center of Excellence in Architecture Technology (CEAT) | Tehran, Iran Analyze data for The Tenth Seminar series of CEAT : Review of Iran Contemporary Architecture

INVOLVEMENTS |

04

GONDOLA

Poets’ House Studio lV | Individual Work | Fall 2016

05

2018 | Fairy Tales: Architecture Storytelling Competition, USA | Collaborative

CODE-STRUCTED SKINS

Computational Fashion Design Workshop | Collaborative | Summer 2017

2017 | RMJM Design Awards 2017 | collaborative First Prize In the Best Small/Medium Building for the Iran Historical Car Museum

06 2017 | Fanavard Design Competition for Pardis Technology Park Entrance, Tehran, Iran | Collaborative

2017 | Intern Architect | RMJM Arta-Tehran | Tehran, Iran

BAZAAR

2013 | Ranked 137 out of 340,000 Students on the National University Entrance Exam in Iran

2012-2012 | Chemistry Summer Program | Young Scholar club | Tehran, Iran

EXPERIENCES |

03

Mixed-Use Commercial Complex Studio lll | Individual Work | Spring 2016

Bachelor’s of Science in Architecture | 3.90 GPA | Highest Honors

2009-2013 | Farzanegan High School | Tehran, Iran

ONE DAY

Opéra-Ballet House Independent Study | Individual Work | Spring 2018

Honorable mention

S K I L L S

DRAGON’S VEIN

After Workshop experiences Independent Study | Individual Work | Fall 2017, 2018

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Software

LANGUAGES

Other

Adobe Photoshop (Advance)

English (Fluent)

Creative Writing in Persian (Advance)

Adobe Illustrator (Intermediate)

Farsi (Native)

Model making (Advance)

Adobe InDesign (Upper-Intermediate)

Turkish (Native)

Drawing (Upper-Intermediate)

07

IRAN NATIONAL CAR MUSEUM

Museum Design | RMJM Arta-Tehran Professional | Collaborative | 2017

08

DAFINE MUSEUM

Renovation Project | RMJM Arta-Tehran Professional | Collaborative | 2017

2018-2019 | Figurative drawing & illustration courses | Marz Studio | Tehran, Iran

Revit (Advance)

Painting (Intermediate)

2017 | Code-Structed Skins (computational design Workshop)

Rhinoceros (Upper-Intermediate)

Piano (Upper-Intermediate)

3DsMax (beginner)

Electric Guitar (Intermediate)

09

AutoCAD (Upper-Intermediate)

Vocalist (Upper-Intermediate)

MS Office (Advance)

Ballet (Intermediate)

BLANK SPACE | Fairy Tales Competition Collaborative | Fall 2017

Contemporary Association of Architects (CAA), Tehran, Iran

2016-2017 | Gardoon Progressive Online Writing workshop 2016 | Residential Design, The 6th Domus Academy (Italy) Interior Design Summer School in collaboration with University of Tehran, Tehran, Iran

2015 | Gardoon Massive Open Online Course on Social Story Writing

10

BABEL

MISC.

O n e Thousand and O n e Nights Museum Final Thesis, Individual Project Instructors: Saeed Haghir Site: Tehran, Abbas Abad Fall 2017

I preferred a spatial 3D design method due to the nature of the project. Interior spaces took priority over the exterior forms and faces, and designing bottom-up, frame by frame, made the whole story and building possible.

I selected stories in which the critical points of the whole is occurred, and tried to sketch the feelings the story conveyed. By making several physical models based on these sketches, the main structure of the museum came into the life and design process was continued with solving plans and functions.

This project is based on my longstanding penchant for telling a story through architecture and writing a play for every single picture seen by the viewer. Everything is not summarized in pictures, indeed. All the senses have to evoke for the story to be told. Between the imagination and reality, there comes the architecture, and behind all the lights and shadows there are manifold ways perceptions.

Which story should it be?

The story in which the ethereal comes into the real and rely on its foundation, same as the architecture. Magical realism is best defined by these words. In Iranian history, magical realism has its very first signs in One Thousand and One Nights stories, even before the emergence of this genre in Latin America. Due to the cultural recession occurring and increasing in Iran day after day, the importance of literature reduces at a mindful pace.

The length of these stories and the separation of literary and everyday language in Persian, also makes the society apart from this precious book. The project is aimed to change the existing condition by bringing literature into a more tangible and intriguing form: A Museum. In this museum original illustrations and inscriptions which are kept in national libraries, out of reach for people, are brought out and shown in a modern way, using projectors, instruments, and installations.

A city in which all the people had turned into fishes: Water and Light’s Charm (The Story of Fisherman) Lovers who were burned of God’s anathema, underground (The Story of Second Beggar)

The condition of torment: Transformation of a square to a trapezium (The Story of Hakim) A broken perspective in time and space

Function and Use

Site

Exhibition

Library & Shop

A changing point of view in the story of Sindbad, from Omniscient to the First person Theater

Administrative

Concatenation (The Story of Shahrazad and Shahriar)

Open Spaces

Bar & Restaurant

The Story of Design: Spatial Design Process Diagram, including Plan, Section, Sketches and Concept

Below: Main Elevation

Site Plan

Level 1 0.57 Level 0 0.00 Level -1 -2.87

Section A Access, Topography, and Vegetation Analysis

Level 1 0.57 Level 0 0.00 Level -1

Section B

-2.87

*All photos for this project are from physical models

Road Analysis: The site is accessible by all highways and thus could play an axial role in changing the vision of Tehran and the contribution of nationals to literature.

Side Elevation

20.12

3.63 2.42 1.81

2.00

2.17

1.51

5.00

3 12.5

13.42

6.48

12.59 UP

8.12

1.36

3.13

2.54 2.04

18.86

18.97

18.56

UP

12.86

10 .93

6.86

4.05

3.00

UP

5.96

8.92

8.93

8.11

8.80

2.50

1.77

9.50

5.50

UP

6.10

1.50

UP

3.94

7.50

11.42

27.47

25.84

24.44

11.70

13.59

11.77

4.17

DN

3.6 8

4.33

1.00 4.31

7 6.42

3.50

7 4.4

13.39

.40 15

5.30

5.84

4.1 2

5

1.51

8.93

9.26

2.29

19.84

1.60

7.55

0.70

UP

16.83

UP

3.01

3.95

4.00

0.50

UP

1.60

1.89

1.16

2.84

3.00

22.06

13.78

13.11

UP

UP

13.35

UP

4.74

4.51

DN

UP

4.50

7.22

5.00

DN

DN

UP

UP

2.05

13.66

13.68

13.11

UP

UP

UP

DN

8 4.3

DN

5.21

2.4 2

13.43

1 81 .

.35 19

3.75

11.8 0

6.75 7.38

5.50

8.43

9.37

5

8.40 10.25

5.46

15

.04 10

5

5 7.7

6.19

10.9 7

13

16.02 3.14 10.03

.91 14

36.30

Structural Analysis

One Day Independent Study, Individual Project Site: Tehran, Valiasr Street Spring 2018

After the Iran revolution in 1979 opera and ballet were banned entirely in the country. This change caused the Persian Ballet Academy to escape to Sweden. My dream is to see Swan Lake on the stage in Tehran, and I designed the project for the hope of freedom. Indeed an imaginary object needs an abstract approach and a futuristic perspective for the structure of the building. The building itself has to speak in a surreal language, though.

From the Street

Site plan

Access

In the City

From the Top Floor

From the Stairway

From the Balcony

From the Coridor

Movement Analysis and Visualizing Diagram: Eight Positions of the Body according to Cecchetti Method

The upper part of Croisé derrière is the main component shaping three different structures by arraying and placing distinctly in three ways.

Croisé devant

À la quatrième devant

Écarté devant

Effacé devant

A memorial or a wish, all deep yearnings has the same end for recapturing the beauty of moments, and nothing can stir memories better than reflecting it in a more tangible language.

The outermost structure resembles very much that of a skeleton and keeps all parts of building together by contacting the inner section.

Second comes a glass structure to bring the sunlight into the corridors and make the view of park and street possible for out of the main building. Last is the main structure which works as a column with a vertically united shell structure.

I try to translate the movements of ballet into lines in order to become closer to architecture and design.

According to the Italian method, there are eight positions of body which all are occurring on specific points of a square. Getting the lines through this movements brings about several options to be used.

Middle Glass Structure

From the Inside À la seconde

Efface derrière

À la quatrième derrière

Croisé derrière

Outermost Skeleton

Spatial Development

Main Building Structure

From the Bird’s Eye

Plans

Main Hall

02 01

03

l

ll

lll

V

Vl

04

Section A

Inner Solid Component

01 Ballroom 02 Class 03 Rest & Repose 04 Outdoor Spaces 05 Hall 06 Preparation 07 Lobby 08 Restaurant 09 Administrative

First Floor

Outer Glass Component

From the Bottom From the Hall’s Interior 06

There are three floors for three functions: The ballroom at the bottom for rehearsal, the classes in between and the main hall at the top with an extra balcony floor.

Restaurant, waiting room and administrative office are also located around the main hall.

Skeleton

09

08

05

07

lV

Section B Aerial and Subtle

B

A

Z

A

A

R

Development of bazaar system in old Persia

Studiolll, Individual Project Instructors: Saeed Haghir, Saeed Khaghani Site: Tehran, Valiasr Street Spring 2016

The development of bazaar in Iran formed simultaneously with the formation of first cities. As cities shaped along the rivers, bazaars formed along the main roads as well. The project addresses this emergence due to the similarity of site and location to the first main roads.

Valiasr Street (old: Pahlavi St.) is the longest street in the Middle East and consequently, plays a pivotal role in communication within the city. The project is aimed to provide a landscape as well as architecture and is proposed to challenge the common approaches of malls and shopping centers. In this regard, the stores, which are the main reason for shopping, form the architecture by themselves, following the organic method of bazaar formation.

Main Elevation

Typology: based on Context, Composition, and Function

The project, titled as “A Mixed-Use Commercial Center,� is designed for the longest and the most crowded street of Tehran. With a Paradigm design method, the pattern of Stair Cities such as Positano and Santorini selected for enabling the greatest possible viewport between various levels and using the shops themselves as architecture. In addition to this pattern, for increasing the relationships between spaces, the pattern of Iranian Bazaar was used as a reference. In a Bazaar, similar goods are displayed in a "Rasteh," and the link between the "Rastehs" is provided with different types of openings between.

The composition of stores is related to the function and the access needed for each of them. Hypermarket as the most accessible part placed at the ground level and is followed by popular shops (up) and food court (down). Direct access to the cinema provided for separating the usages and preventing chaos. More special shops, bookstores, and cafes located in between, where the right customers will find their way through them.

Valiasr street: the longest avenue in middle east

Vegetation

Access

Separation of Cinema and Shopping paths

Visibility: Common Vs Proposal

Slope: Current Vs Proposal

Sequence of Floor Levels: Ground to Top

Diversity: Common Vs Proposal

From the Street

10.00

5.00

10.00

10.00

6.33

17.37

6.00

12.50

10.00

3.00

10.16

4.10

10.84

9.99

1.80

9.30

Light Steel Framing Structure: Load transfer from frames to Columns and Supports

-

F -

UP

F

F

F

5.90

---

4.70

5.40

F

F

28.00

40.10

---

8.00 2.00 5.38

DN

23.10

---

44.91

23.20

3.97

3.97

6.58

3.98

6.10

-4.00

6.00

3.88

2.08

5.90

3.86

7.88

5.20

UP

6.90

1.10

4.10

8.42

8.00

4.00

UP

8.10

0.98

7.90

3.98

4.22

11.92

3.98

4.30

9.70

9.02

2.97

10.82

16.06

8.08

8.79

Interaction: Common Vs Proposal

10.84

Second Level Floor plan

10.00

4.92

10.00

Underground Floor Plan

7.30

10.00

4.49

5.28

9.07

3.16

10.10

19.80

6.46

Third Level Floor Plan

Site Plan

Axonometric of Components Visibility Diagram

Cinema Garden Restaurant Cinema

Cafés

Restaurants and Gardens

Food court

Shops

From the Inside

Warehouse Structure

Top: Bottom:

Composition From Bird's Eye

| |

Function and Use

Landscape Stairs for sitting Garden Restaurant Boutiques and Cafés Food court

Hypermarket

Hypermarket

Clothes and Shoe Stores

Book Garden

Café Street

*All Black & White Photos for this project are taken from physical model

Hypermarket Main Elevator

Wheelchair ramp

Parking

Parking

Longitudinal Section

Transverse Section

Cinema and Restaurant

Light and Sign

G

o

n

d

o

l

a

StudiolV, Individual Project Instructors: Alireza Eynifar Site: Tehran, Zargandeh Fall 2016

Site Plan

Designed as five different houses in relation to each other, this project is intended to bring together five poets for living in a small community. The goal is inspiration, strengthening the emotional exchanges and creating a polyphony. The main question is, though: How could five families live closely connected? The project is located on the “Zargandeh” neighborhood (North district of Tehran) known by its old and valuable lands along the stream which comes from “Alborz” mountains, providing an appropriate context for an introvert architecture. As if the building is singing a song, soundlessly.

“Opposites are not to be united rationally. ...

In practice, opposites can be united only ...

-Carl Gustav Jung

In the House (Second floor)

In the Sunroom

Outdoor Stairway

Sunroom

Gondola

Indoor Staircase Circle room Main Joint

In the Backyard

Diagrammatic Design Process

On the Roof

Each house is on two floors to separate private and public parts of the houses. The circular area in a house is formed by a spiral united wall which is extended to the roof. Three parts are on three floors, and a spiral staircase around the wall link them together. On the roof, circular area is allocated for sitting, and the other parts of the roof are designed as roof gardens.

Study Models for concept and composition

Axonometric of Components Section A

Section B

Jung said the words; we find calm by staying on a circle, as when we were in the womb and as we prayed the fire in the middle of a fire temple. Jung describes his tower: “circles of stone, with a heat in the middle.” “I wanted a room in this tower where I could exist for myself alone,” he said, living as simply as possible, without electricity or running water. Our lives surrounded by cubes without any sense of perfection that was painted, written and explained by a “Circle.”

Unit Plans and Diagrams

Top Floor

Bottom Floor

Wooden Partition System along Curve walls, Providing Optional Private to semi-Private Areas

Top Floor Second Level Floor Plan

Bottom Floor

Bottom Floor Left: East Elevation

Top Floor

First Level Floor Plan

In the House Second Floor Top Floor

Bottom Floor

Access Analysis Ground Level Floor Plan

Vegetation and View Analysis

Summer Sun Analysis

Right: West Elevation

CODE-STRUCTED SKINS COMPUTATIONAL FASHION DESIGN Academic Series CAAI-Sep2017

Computing ideas for articulated realities Collaborative Project Instructors: Arian Hakimi (Zaha Hadid Architects) Stefano Paiocchi (Zaha Hadid Architects)

We started with an accumulative component which couldn’t be divided into a simple cell. So we tried to change the whole pattern system by playing with grids and vertexes. Moving intersections and vertexes, Bending axes and rotation of grids caused symmetric / Asymmetric, flexible/ rigid, and flatter/ curvier patterns that helped us to discover the behavior of our component to have compatible shapes and curvatures for the human body. These challenges gave us a broader view of folding rules and the ability to analyze the patterns’ act before applying on paper. Our outputs were printed on big rectangles without any dress outline.

Main Component

D r a g o n’s Ve i n

Dafineh

Independent Study, Individual Project Fall 2017, Fall 2018

Museum

RMJM Arta-Tehran 2017 Head of Design: Arta Rostami Site: Tehran, Mirdamad The site is located in the industrial zone between Tehran and Karaj (kilometer 10, Fath highway) and it is around 22000 square meters. The existing complex consists of 10 warehouses, each of Contribution: Process,Physical and 3D Models, Presentation around 900 (30X30) square meters area, stretching out toward the Tehran-Karaj highway. The constraint is to keep theDesign existing warehouse without exceeding the limit of the existing constructed area.

A

After finishing the workshop, I tried to transform our pattern to other patterns using transition lines which were created as a result of previous trial and error. These are some seamless patterns transformed between two components, printed on rectangles without any particular outline. Transforms caused dramatic changes in the behavior of our component, in some cases transitions are more apparent, and sometimes it was more seamless as needed.

Finally, I made some outlines with no doubt about their afterfolded result, thanks to several experiences done.

The site is located in the industrial zone between Tehran and Karaj (kilometer 10, Fath highway) and it is around 22000 square meters. The existing complex consists of 10 warehouses, each of around 900 (30X30) square meters area, stretching out toward the Tehran-Karaj highway. The constraint is to keep the existing warehouse without exceeding the limit of the existing constructed area.

B

B

P L A N +2

P L A N +1

PLAN 0

P L A N -1

A

A

SECTION A-A

SECTION

B-B

SOUTH

CATEGORY E _ 2 _ 06

FACADE

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PAGE 1

B

P L A N +1

P L A N +2

*Model is fully made and photographed by me A

B

PLAN 0

P L A N -1

Iran

National

Car

Museum

First Prize in the Best Small/Medium Building category, RMJM Design Awards 2017

RMJM Arta-Tehran 2017 Head of Design: Arta Rostami Site: Tehran-Karaj Highway Contribution: Research, Design Process, Physical and 3D Models, Presentation

The site is located in the industrial zone between Tehran and Karaj (kilometer 10, Fath highway) and it is around 22000 square meters. The existing complex consists of 10 warehouses, each of around 900 (30X30) square meters area, stretching out toward the Tehran-Karaj highway.

The constraint is to keep the existing warehouse without exceeding the limit of the existing constructed area.

You can feel a temporal atmosphere which makes the past alive. The historical cars are manifested as living cultural events which may have significance for visitors. By experiencing their own living past, the visitors may set boundaries for future hopes and fantasies. The whole design process for historizing the visitors aims to bring the past alive in the present. I think this will be the way for many projects over the coming years in this country. We are linked inextricably to the past even as we move forward with new technology and design processes. Architecture in Iran has the chance to offer the best of both worlds.

C

B

B

A

A

PLAN -1

PLAN 0

PLAN +1 C

A

A

SECTION A - A

BABEL

BLANK SPACE, Fairy Tales Competition Collaborative, Contribution: Story Writing, Concept developing Winter 2017

Warehouses

Corridor Room Exhibition Hall SECTION

Plan 0

Bar and Restaurant Gift Shop Praying Room Sanitaries Lockers

Entrance Reception, Box Office, Lobby East Office West Office Administrative Office Waiting Area

“… and there was a world out there with thousands of lands And thousands of seas With thousands of worlds residing within it And a world in which, to see themselves, people would stand with their backs to the mirror.”

Conference Hall Administrative Office VIP Room Sanitaries

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Plan +1

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Plan -1

J asper cupped his hands under his face and said: “what then?” The old man said: “they rode on guided by the wind, and on

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10

Bar and Restaurant Sanitaries

7-7

SECTION

9-9

SECTION

4-4

SEC. 1-1

2 SEC. 2-2

3 SEC. 3-3

SEC. 4-4

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SECTION

SEC. 7-7

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S E C . 10 - 10

5-5

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SECTION

SECTION

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3-3

the seventy third day, realized that they would never reach land.” Then he looked out through the lighthouse’s window toward the land. Jasper said: “we can’t see the sea from where we live either, grandpa” and he pointed toward some spot within the city. The city, with its accurate reflection on water, looked more like an eye that light had touched its pupil, but it wouldn’t blink. Only when you followed a ship until it passed you by and shrank until it reached the land, you could see the city.

The old man had squinted his eyes and said: “I miss people. I would have liked to know how they are doing” and touched his shoulder. Jasper’s eyes crawled down the old man’s shoulder and stared at the bubble on his back. He saw a city inside that seemed to have been there for ages and the old man couldn’t bear its weight on his back anymore. Jasper put his hands on the bubble. The sea was moving between his hands. A green mist settled on the sea. From between his fingers he was watching rays of light brightening the jungle. His gaze was twisting within the jungle and disappearing into the horizon. It wasn’t nighttime yet, but the moon’s image was illuminating the water. When he looked up, the houses had reached the moon. The smoke risen from their roofs revealed that the weather was cold. It was cold, and Jasper wished he could be in one of the houses. He said: “but nobody’s bubble has this much sea over there.” The old man smiled. He said: “come along boy.”

The stairs of the lighthouse started from beneath their feet then twisted and twisted on until they reached a point above all the cities and oceans. Jasper looked toward the city through fences. The houses had become intertwined to the point that he couldn’t tell which house he should pull out of which house’s belly to find their home. The old man said: “make a fist, boy.” Jasper brought his fist forward. “Now put it on one eye and close the other one. Do you see anything?” Jasper said: “nothing.” The old man said: “open your fist slowly until the tiniest bit of light appears. Look at the city and find your home.”

Jasper looked at the city’s squares, streets and bridges through his spyglass. The old man said: “for you to see a thing, really see it, you would have to close your eyes to all else.” Jasper yelled out: “it’s over there!” The seagulls were circling above their heads. Their calls, as if screaming, were puncturing the old man’s ears. He said: “let’s go boy. I have to turn the lights on” and turned away. The sun was going down. A circle of light had fallen on Jasper’s feet. He looked at the old man’s bubble and saw the moon which was now full. How was his own bubble? It had been days since he knew. The old man didn’t have a mirror and Jasper had never asked why. He closed his eyes and imagined for an instant that he was looking inside the bubble. A sea had appeared in his bubble. He thought: “oh god, could it be that I could take the sea with me to the city, to my home and wherever else I go?”

The seagulls were still shrieking.

The lights came on. Jasper went down the stairs and saw the old man through the doorframe preparing supper. There were three tree stumps by the window, which would serve as their chairs and table. Jasper sat on one. He saw the bread knife on the table and the picture of a cup reflected on it. He took the knife and turned around. The picture of his bubble reflected on the knife.

His city seemed to have grown. Were they houses? He didn’t know. He made a spyglass with his hand and put them in front of his eye. The sea wasn’t there. He moved the knife a little, and a little more. His bubble didn’t have a sea. He sat on the tree stump again and stabbed the knife into the table. His back was burning. He pulled out the knife and carved his very first signature on the wood. Night had fallen now. ...

For full text

MISC.