• Creative architect and researcher, highly skilled in making contextually appropriate decisions, with successfully executing architectural projects across various climatic zones, while analyzing behaviours and habits of individuals within each zone
• Highly motivated designer, working in varied contexts and scales from designing small rural homes to large-scale residential complexes in bustling metropolises.
• Flexible and adaptable collaborator, having participated in more than 15 team projects during university studies, and one year of professional working alongside diverse groups of architects, designers, and engineers
Education
MA Interiors | Manchester Metropolitan University Manchester School of Art
BS Architectural Engineering | Tehran University of Art College of Architecture and Urban Design acknowledged as top five students of the final project with GPA of 18.05/20
Diploma in Mathematics and Physics | Noura High School GPA 19.28 / 20
Top Student in the last two years
Research Interests:
• Furniture Design
• Sustainable Design
• Textile Design
• Culture and History of Architecture
• Building Information Modeling
• Artificial Intelligence
• Responsive Architecture
Work Experience
Ponisha Website for Freelancers
http://ponisha.ir/
• Interior Designer
• Architectural Designer
SFStudio
https://sfstudio.ir/
• Architectural Drafter
• Interior Design assistant
• CG artist Vaal Studio
https://www.linkedin.com/company/vaal-studio/
• intern
• Architectural Drafter Design Assistant
Workshops
Furniture Design
Linkedin Learning
3 hours of practice of a process-based approach for designing furniture
Mashq e Honar 7-10 Exhibition
The Architecture school’s exhibition of the students’ works. (Selected student work in Mashq e honar 10 for thesis project)
Rhinoceros Workshop
VIVID VISUAL offline course
50 hours practice of modeling objects and buildings in Rhinoceros
Imam Ali Mosque Workshop
National Contemporary Architecture Center, Shahid Beheshti University, Tehran, Iran
Four weeks of theoretical course + four weeks of practical course
Learning about methods of analyzing the form and the structure of a building.
Group visit to Fablab, the digital fabrication workshop
Learning about the machines, softwares and methods used for computational design.
Group Visit to Ribbon of Light project
Steel Structure class
Studying and analyzing the materials and methods used in the process of construction.
Group Visit to Niavaran Complex, sketching workshop
Environmental Perception and Communication Class
Studying and analyzing the Persian architecture style
sketching and analyzing the construction and architecture of Niavaran palace.
2023 - 2024 2023
Skills
• Planning and Programming
• Creativity
• Project Management
Complete Mastery
Workshops and Courses
Four years of experience
Two years of experience Framework and Tools
3D Modeling
Rhinoceros
Autodesk Revit
Rendering
Lumion
V-ray
2D Drawing
Autodesk AutoCAD
2D Graphics
Adobe Photoshop
Adobe Illustrator
Adobe InDesign
ICDL
MS word
MS PowerPoint
MS Excel
Other
Architectural Sketching
Architectural Photography
• Problem-solving
• Teamwork
• Adaptability and Flexibility
• Ranked top 0.5% among more than 300,000 candidates in Iran’s National University Entrance Exam for bachelor’s degree, awarded with full tuition waiver for all years of study
• Awarded second place at “Mashq e Honar” Architecture exhibition held at Tehran University of Art
• Awarded second place at “Hafez Residential Complex”architecture competition in collaboration with Vaal Studio
Achievements Languages
Persian : native C2
• English: IELTS 8 C1 - Full professional proficiency
• Italian: A2
• Arabic: B1
Project Type:
Manchester, UK
Educational
Location: First Semester- Master’s
The design of The Bridge was driven by the goal of fostering connection and inclusivity within the urban fabric. Positioned as both a physical and social link, the project responds to the fragmentation of its surrounding context by creating a space that encourages interaction, movement, and dialogue.
Through a careful study of site dynamics, user behaviors, and accessibility needs, the design process focused on bridging gaps—both spatial and social. The structure serves as more than just a crossing; it is a dynamic, multi-layered space that accommodates various activities, inviting people to pause, gather, and engage. The materiality and form of the bridge further emphasize openness, transparency, and integration with the city, reinforcing its role as a unifying landmark within the urban landscape.
The Bridge was conceived in response to a brief from the RSA ( the royal society for arts, manufactures and commerce) focused on transforming unused buildings into centers of love and connection. Situated in the heart of Spinningfields, Manchester’s vibrant commercial district, the project seeks to bridge social and cultural divides by repurposing the former Manchester College site into an inclusive, welcoming community space.
Through an in-depth site analysis, the project identified the area’s strong connectivity, dynamic urban setting, and diverse population as key assets. However, despite Manchester’s multicultural richness, many cultural centers primarily serve specific communities rather than fostering cross-cultural exchange. Observations from visits to spaces such as the Pakistani Community Centre and the Greater Manchester Bangladeshi Association highlighted the need for a space that not only provides a sense of belonging but also encourages interaction between different communities.
The Bridge responds to this need by creating an environment where stories, traditions, and perspectives can be shared openly. By blending education, engagement, and social interaction, the design fosters an atmosphere of understanding and connection, making diversity an active and celebrated element of Manchester’s urban fabric.
To achieve this goal, the design carefully considers both the exterior and interior of the building.
Externally, the architecture emphasizes openness and fluidity, seamlessly integrating the interior with its surroundings. An inviting façade and well-connected pathways encourage movement and interaction, ensuring the space feels accessible and welcoming to all.
Internally, the layout is structured around three key zones, all anchored by the atrium, which serves as the heart of the building, drawing people together. The Discovery Zone is an immersive, exploratory space that sparks curiosity and engagement. The Sharing Zone is a flexible co-working and workshop area designed to foster collaboration and creative exchange. The Reflecting Zone offers a serene, nature-inspired setting for quiet thought and contemplation. Together, these zones create an adaptable, inclusive environment that nurtures meaningful connections and a sense of community.
Within each zone, visitors move through distinct phases of observation and participation, gradually transitioning from passive engagement to active contribution. Mean while, the atrium serves as a confluence point, where people naturally gather, observe, and engage with the activities unfolding on the ground floor. This layering of experiences fosters organic interactions, allowing indi viduals to connect not only through direct participation but also through shared moments of discovery and ex change.
The ground floor of The Bridge serves as the welcoming gateway to the community center, embodying connection, openness, and cultural exchange. Anchored by the Main Hall, a dynamic space for performances, social gatherings, and cultural events, it invites curiosity from passersby through the building’s transparent facade. This visibility encourages engagement and reinforces the idea that the center is a space for everyone.
The public library on this floor offers more than books—it showcases art, stories, and artifacts from around the world, reflecting Manchester’s multicultural identity. Visitors can explore exhibits that celebrate diverse histories and contributions, fostering a sense of discovery and learning.
The communal backyard provides a shared outdoor space for relaxation and informal connection. Incorporating natural elements, it offers a tranquil area for reflection or casual gatherings, enhancing the sense of warmth and inclusivity. Overall, the ground floor sets the tone for The Bridge’s journey through discovery, sharing, and reflection. It creates a dynamic, flexible space where people can gather, learn, and connect, establishing a sense of belonging from the moment they enter the building.
The Discovery Zone unfolds like a treasure hunt through Manchester’s past, designed to evoke curiosity and wonder. Visitors navigate a cave-like environment with shimmering, gold-textured walls, inspired by the organic forms of Jerszy Seymour’s “Scum City.” The space is illuminated by hidden, carefully placed lighting that casts dynamic shadows and highlights, enhancing the sense of mystery and discovery.
The journey begins with exhibits showcasing Manchester’s history and the contributions of immigrant communities. It then transitions to displays of artifacts, maps, and relics from various cultures that have shaped the UK. A key feature of this zone is the Historical Immersion Chamber, a fully immersive space where projectors on the ceiling and walls envelop visitors with historical documentaries and narratives, providing a multi-sensory experience. The journey concludes at the Story Wall, which bridges the past and present by showcasing contemporary stories from Manchester residents, written in the Reflecting Zone. This progression not only informs but deeply connects visitors tothe city’s diverse cultural heritage.
The Sharing Zone is a vibrant space designed to promote cultural exchange and foster connections within the community. It features two primary areas: flexible learning spaces and a Local World Market. The learning spaces are defined by curvilinear partitions crafted from algae adhered to rattan and laminated wood, inspired by Julia Lohmann’s innovative use of sustainable materials. These semi-translucent partitions form intimate, cave-like environments that allow glimpses into ongoing activities, sparking curiosity while maintaining a sense of privacy. These adaptable spaces host activities such as language exchange cafés and traditional skills workshops, enabling visitors to share knowledge and skills. Adjacent to these spaces is the Local World Market, an open-plan marketplace where community members can sell and buy culturally significant products. The market’s layout encourages interaction and economic exchange, fostering an appreciation of diverse traditions. The entire zone is illuminated with warm, ambient lighting, enhancing the inviting atmosphere and supporting its purpose as a hub for connection and collaboration.
The Reflecting Zone is an indoor sanctuary designed to foster peace and introspection through a connection with nature. The space is divided into three key areas, each offering a unique reflective experience. An open workshop area allows visitors to engage in creative activities like pottery, connecting their hands to natural materials such as clay, fostering mindfulness and relaxation. The yoga space is bathed in natural light streaming through large windows, complemented by elements like indoor trees and earthy tones, creating a serene environment for physical and mental renewal. Lastly, the story pods provide secluded spaces for visitors to share and document their personal narratives. Each pod is designed to feel intimate and private, constructed with warm, natural materials and soft lighting to encourage open self-expression. Together, these spaces form a tranquil, garden-like environment that invites visitors to slow down, reflect, and reconnect with themselves and the world around them.
clay plaster vinyl flooring
FSC-Certified Oaka lgae glued to ratten and laminated wood clay plaster reclaimed stone
The primary objective of this architectural design was to restore the identity and sense of community within the Ekbatan neighborhood in Tehran city by creating a unifying social landmark.
Ekbatan Town, an intellectual product of the 1940s-50s, emerged alongside the arrival of modern architecture in Iran. Despite being one of the country's most successful residential developments, Ekbatan has historically been isolated from the surrounding areas of Tehran.
The design process involved thoroughly researching Ekbatan's strengths and weaknesses in order to propose strategies for restoration and amplification. Ekbatan has been home to numerous influential figures across various fields, representing a valuable potential that this project aims to identify, document, and highlight.
The selection of the project topic originated from the issue of poor neighborhood quality in the neighborhoods of Tehran.
With the development of megacities and the emergence of a new mode of urbanization, the cultural values of the neighborhoods in Tehran have faded, and this issue has resulted in an unfavorable neighborhood quality among the residents. Recognizing the capacities of each neighborhood by the residents can enhance the cultural and social level of the society.
As a representation of modern architecture in Tehran, Ekbatan town was a suitable choice for this study on this issue. After examining the physical, social, and cultural structure of the town, it was determined that due to the lack of coordination between some of the current needs of the residents and the current situation of the town, as well as their lack of recognition of the identity and history of their place of residence, a museum as a cultural - community landmark should be established in the town to restore a sense of belonging in the town’s residents.
The proposed architectural design centers around a central courtyard, with the galleries and other museum spaces situated in proximity to and oriented around this central courtyard. Given that the primary objective of the project is to foster improved communication and interaction among the residents by facilitating their engagement with the town, the spatial layout is intentionally structured such that visitors are able to catch a glimpse of the central courtyard during the course of their visit. However, to access the courtyard, visitors must first navigate through the gallery spaces.
The museum’s central courtyard hosts a variety of public functions, including town hall-style community meetings and diverse artistic events. This central space is directly connected to the museum’s temporary exhibition galleries and retail store, as well as auxiliary service areas such as the cafe, which may utilize the courtyard as an extension of their operations.
Placement of the pedestrian entrances
Initial Placement of Building Volume
Placement of the central courtyard
Placement of ramps and vertical transition spaces of the building
Withdrawal of the administrative and educational departments of the building
Placement of parking and greenery on the site
Location: Tehran, Iran
Project Type:
Level:
Date:
Collaboration:
Professional, Competition (awarded second place)
Post Graduate January 2023
Vaal Studio
(Collaboration in researching, design, diagramming and modeing)
The project involves designing the “Hafez” residential town in Tehran’s 19th district. The primary goal is to create a high-quality, affordable housing development of around 200,000 square meters that can meet the needs of various socioeconomic groups while providing comprehensive services. The vision is to develop an enclosed, economical residential complex focused on quality, sustainability, and profitability. Key considerations include incorporating innovative and efficient strategies, optimizing user comfort and convenience, and ensuring quick execution with minimal waste. The project is also intended to serve as a catalyst for the growth and development of the 19th district by delivering essential services and amenities to residents in a flexible manner.
We started the our process of thinking by asking three main questions:
1) “Is it feasible to impose access restrictions without complete enclosure of the space?”
2) “In what ways have recent societal and economic developments impacted the conceptualization of urban living and working arrangements?”
3) “To what degree do the notions of occupancy levels and population density influence the quality of residential environments?”
The design consists of various layers explained below:
5 small squares: The geometry of the land consists of 5 equal squares with dimensions of 130 meters. (Image 1)
1 large square + 1 small square and 1 continuous border: out of these 5 squares, 4 squares together form a bigger square, which is offset to the inside by 10 meters, and as a result, an empty border is formed around it. This square has separated itself from the ground level (1.5 meters above the ground level) and has become the exclusive platform of the complex. The remaining border along with a small remaining square are connected to each other at the ground level and made available to the public by combining green space and movement paths.(Image 2)
Base grid: This grid with dimensions of 7.20 x 7.20 meters with an angle of 45 degrees to the big square is considered as the base grid and other grids are derived from it.
Full and empty grid: This grid consists of strips with dimensions of 21.60 (full strip) and 43.20 (empty strip) which are arranged in two orthogonal directions. (Image 3) Residential blocks are placed on parts of full strips. (Image 4) Squares of 21.60 meters are formed from the intersection of filled strips, which are considered empty. Also, from the intersection of the empty strips with each other, empty squares with dimensions of 43.20 have been formed, which act as large yards and open spaces between residential blocks.
Porous Grid: This grid with dimensions of 3.60 x 3.60 meters is located on the area of full strips, and some of its sides have been removed or moved, which has caused the formation of separate walls and semi-open porous spaces on the surface of the platform. (Image 5) Uses such as shared work space, shared services, cafe, etc. are scattered between these walls.
Service grade: 80 cm thick lines are placed on the filled strips that are the area of residential volumes and at the intervals of the base grade, which accommodate residential service spaces such as kitchen, bathroom and closet. (Image 6)
Other grids: defining new strips with widths proportional to the base module has formed other layers such as the routes network. (Image 7 and 8)
Diameter 1: The diameter of the large square that connects the southwest corner of the land to its northeast is composed of 9 squares that have a linear arrangement and is considered as a service axis for the public. This diagonal bar is located under the platform and is connected to the small square. (Image 9)
Diameter 2: The other diameter of the large square that connects the northwest corner of the land to its southeast is considered as the green axis and is level with the platform. This axis also includes the green areas on the ground. (Image 10)
- The platform level includes a variety of public spaces. Moving away from this central platform perpendicular to it in two directions, the population density and public uses gradually decrease. (Image 11)
- The residential component consists of 33 blocks - 21 square blocks measuring 22.40m and 11 rectangular blocks measuring 22.40m x 44.0m. These blocks range from 6 to 11 floors in height. To prevent direct sightlines between units in adjacent blocks where they connect, a 7.20m module was removed from one of the blocks. This open module was then repositioned in the middle of the floors and transferred to another block, where it functions as a dedicated public space for that block. (Image 12)
- A portion of the first basement level is dedicated to cultural, workshop, cafe, restaurant, gallery, commercial, sports, recreational and medical spaces that can be accessed by the public. This basement “bar” connects to the platform level in parts, integrating the project with the city below.
- Two basement levels provide approximately 2,600 parking spaces at an occupancy level of nearly 50%.
- The northern area of the site has been adapted to maintain use as a temporary bazaar, combined with green space.
Image 12.
Transition of Empty Module in Residential Blocks Shops
Image 11
Image 13.
Program Schematic Section
Residential Blocks Arrangements
- The ground floors of some residential blocks feature double-height spaces to facilitate emergency access. These ground floors include lobbies, semi-open spaces, and scattered commercial units like coworking spaces, cafes, and services
- An additional 4-story volume (from the 3rd basement to ground) in the small square area includes a library, black box theater, commercial spaces, and shared workspaces for residents. The topography in this area has been preserved, covered with green spaces and sports fields.
Main Flat Types
Main Residential Block Types
3 Ekbatan Sports Complex
Location: Tehran, Iran
Project Type:
Project Level:
Date:
Collaboration:
Educational 4th year, 7th semester
November 2020
Group Work
The primary aim of this project was to thoroughly explore different structural systems and deepen my understanding of how they function. This was the most technically complex endeavor within my bachelor’s program. The initial phase involved extensive research into a variety of structural typologies. Based on the project’s requirements, a truss system was selected for the sports hall as the most suitable approach. Other areas of the complex, such as the lobby, gym, and offices, employ a combination of hollow blocks and reinforced concrete for the roof structures.
The proposed complex is situated in the planned community of Ekbatan, where an existing sports hall previously occupied the site. The objective was to redesign the space to better meet the needs of the town. The facility is designed to accommodate both training activities and competitive events, providing the community with a versatile and modern sports facility.
The project is divided into two main volumes connected by a central bar. The eastern portion houses a lobby and sports retail store on the ground level, as well as a cafe and gym on the upper floor. The western part contains the sports hall, which has a height of 10.5 meters - equivalent to two floors in the eastern section. Offices are located within the connecting central bar on the first floor.
The main entrance to the complex is situated on the eastern side at ground level. Players can access the locker rooms after passing through the lobby, with direct entry to the sports field from there. Spectators and audiences can enter the field via two entrances on the first floor, located at the northern and southern ends of the office wing.
- The windows in the sports hall and gym utilize smart glass technology. This allows occupants to adjust the transparency of the glazing to control privacy and the amount of natural light entering the spaces.
- The design employed a minimalist aesthetic, with the air conditioning ductwork and structural elements con cealed above a suspended ceiling.
- The column spacing was maximized, with a typical 8-meter grid, except for the western and eastern grid and the middle connecting bar of the building where the layout required a different structural organization.
- The space beneath the spectator seating on the south ern side of the complex has been utilized for vehicular parking.
The core focus of this project was to deeply immerse ourselves within rural communities, gain a nuanced understanding of village life, and leverage those insights to develop architectural solutions that can revitalize these settlements and improve the quality of life for their inhabitants, hopefully to help the reverse immigration. By closely analyzing the existing infrastructure, traditions, and lived experiences of the villagers, we were able to craft responsive design strategies that preserve the unique character of the rural environment while addressing the specific needs and aspirations of the local population.
Feshk Village is situated in the Rudbar District of Qazvin City within the Qazvin Province in Iran. Climatically, the village is located in the mountainous region of Qazvin City, exhibiting the characteristic mountain climate with cold winters and mild summers. Feshk Village is situated in the northernmost part of Qazvin City.
“Nahadi” House is located in the northernmost section of the village, effectively comprising the final residential structure within the settlement. The house was constructed many years ago by Mrs.Nahadi and her spouse, featuring a central corridor that connects the four rooms of the dwelling. Two of these rooms serve as Mrs. Nahadi’s primary residence, while one functions as a kitchen. The fourth room remains unutilized.
Given that the family members have migrated to the city, the expansive living space within the house exceeds the needs of a single occupant, resulting in portions of the property remaining unused. An alternative use could be introduced to this underutilized section, transforming it into a productive and beneficial space for both Mrs.Nahadi and the other residents of the village.
Considering the substantial size of the house and its somewhat remote location from the village center, the property may present a suitable option for tourist accommodation. This potential is further bolstered by the lack of nearby residences, which would minimize disturbances to the villagers. Moreover, the favorable location and scenic views of the “Nahadi” House could serve to attract tourists and enhance the overall enjoyment of their stay.
Location of the house in the village
Pedestrian access route
Considering that a significant portion of the residence remained unutilized by Ms. Nahadi, with no designated purpose, the reconfiguration of these underutilized spaces into tourist accommodations could serve to bolster her income while providing a suitable option for visitors. Provisions have also been made to address the structural integrity of the dwelling.
The western room of the house is designated as a guest suite, while the residence is expanded from the western, southwestern, and southern orientations. The northern room, eastern room, kitchen, and bathroom shall remain within the private domain of Ms. Nahadi, segregated from the tourist accommodation areas and reserved solely for her personal use.
The house was in need of comprehensive renovations across all spaces. The roof and walls lacked sufficient structural fortitude, having sustained damage from storms, high winds, or seismic events. It was likewise necessary to implement insulation measures for the roof and walls to prevent the intrusion of moisture. Additionally, the water and sewage electrification systems needed to be reconfigured to accommodate the needs of a larger occupancy.
By repurposing certain spaces within the house and incorporating additional areas in the western and southern sections, as well as leveraging the unoccupied spaces surrounding the dwelling to align with both living and livelihood activities, the intended objectives could be achieved.
The
Rubble Soiling
Coarse Sand
Light Concrete for leveling
Light Concrete for leveling the roof
Nails for connecting the board to the beam
Wood board
Thatch that also works as weathering coat
Location: Asalooyeh, Iran
Project Type:
Level:
Date:
Collaboration:
Softwares:
Professional
Post Graduate
July 2023
SF Studio
AutoCAD, Rhinoceros, Adobe Photoshop, Lumion
The Asalouye Cake and Pastry Complex is a comprehensive three-story facility located in Asalouyeh City, Bushehr Province, Iran. The project site experiences a hot and humid regional climate. The complex contains a diverse program, including a cafe and full-service kitchen on the ground floor, an office area and employee rest spaces on the first floor, and a staff canteen, warehouse, as well as dedicated bread and pastry production spaces with ovens and warm storage areas on the second floor.
The entire interior design of the complex was completed by SF Studio. My principal role in this project was the phase one design for the cafe interior. This encompassed developing the concept and detailed design for the cafe’s ceiling module, furniture layout, lighting scheme, strategic placement of ventilation systems, and selection of high-quality, durable materials. Given the climatic conditions of the site and the industrial character of the existing building, I aimed to blend a contemporary industrial aesthetic with warm, organic bohemian design elements throughout the cafe spaces. After successfully delivering the phase one cafe design, we then worked closely to prepare and refine the construction documents for phase two of the overall complex.
The ceiling in this interior design project is composed of repeated, warm-colored, hexagonal-shaped modules that evoke the structure of a beehive. This design was chosen to reflect the natural and organic sweets produced in the store. The hexagonal motif creates a visually interesting and cohesive aesthetic that ties the space together, while the warm tones of the modules provide a cozy and inviting atmosphere.
Ground Floor Plan
Parametric bricklaying design workshop:
Second year - April 2019 after a design contest for university’s front yard, the winner’s fence was made in a workshop using bricks only.
Plaster mullion:
First year - January 2018
Building and Materials workshop
After designing models, we made window mullions from plaster to cover the windows of the school’s workshop using molding techniques.
Traditional iranian geometric structure: First year - January 2018
Building and Materials workshop
During the workshop we learned about the techniques and materials used to construct a traditional iranian geometric structure. The techniques relied heavily on mathematics. using plaster, clay and bricks this structure was built in university’s yard.
Surveying of monuments:
Second year - July 2019
During a trip to the small city of Naraq, my three group members and I surveyed a historical mansion that was facing destruction. We used triangulation to map the layout of the building. Additionally, we created a model of the mansion, documenting its details, and took photographs of the site. Through our research, we identified the various arches and domes, and attempted to redesign the structure.
Selected Works 6
Third year - December 2019
Steel structures Course
A one-day visit to the construction site of an under-construction project.
Illustration Practice:
Third year - January 2020
Application of computer in architecture course
A photo illustrating perception of the “playtime” movie using desired software.
Sketches and drawings: 2018 - 2020
Illustration Practice:
Third year - January 2020
Application of computer in architecture course
A photo illustrating perception of the “Human and Modern Architecture” using desired software.
