ARASTOO KHAJEHEE
ARCHITECTURE P O R T F O L I O 2
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Table of Contents Curruculum Vitae
04-05
Design Criteria: Contemporary Ornament
06-07
A New Way of Expressing Persian Architectural Ornaments
08-12
Kerman City Theatre House
13-32
Exploring the deconstruction of a single pattern in multiple planes Bachelor’s Degree Final Design Project (Thesis)
Sustainable Residential Complex Architectural Design Studio 5
33-46
Kerman Sports Center
47-51
Photography
52-53
Hand Sketch and Rendering
54-57
Digital Artwork Compositions
58-61
Architectural Design Studio 4
Education 2016 BS: Architectural Engineering,
Shahid Bahonar University of Kerman, Iran. GPA 17.65 out of 20 (A-) GPA for Last four semester 18.02 out of 20 (A+) Final Project Grade (City Theatre Design for Kerman): 19.25 out of 20 (A+)
Arastoo khajehee
January 28th 1993 #6, Moalem Blvrd., Jomhuri Eslami Blvd., Kerman, Iran, Postal Code 7618716135 Phone: +983432116395, Cell Phone: +989215534973 www.instagram.com/kh.arastoo/ a.khajehee@outlook.com
Languages
Persian Native English Fluent (iBT 109) Japanese Intermediate (JLPT N3)
2011 Diploma in Physics and Mathematics,
Boo-Ali private high school, Kerman, Iran GPA 18.19 out of 20 (A+)
Academic Activites 2015 Student member of the design team for the
Faculty of Arts and Architecture pavilion the Annual Harkat Festival at the Shahid Bahonar University of Kerman 2015
2014 Member of Architecture Student Union at the Arts and Architecture Faculty, Shahid Bahonar University of Kerman
Autodesk Maya Instruction: Architectural Students Union, Arts and Architecture Faculty, Shahid Bahonar University of Kerman 2013
Exhibition 2015 A New Way of Expressing Persian Architectural Ornaments
Exploring deconstruction of a single pattern in multiple planes
Publications 2019 Translation:
“Ornament : The Politics of Architecture and Subjectivity� by Antoine Picon 2013 John Wiley & Sons Ltd Publications Translators: Khajehee. A and Saneie. A (In Press)
2014 Article:
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Towhidi, A. & Khajehee, A. The alphabet of designing arts: The theoretical foundation of visual thinking and visual language. Paper presented at the First International Conference on Sustainable Urban Structure; published in article collection of the conference. November 22, 2014.
Atended International and Domestic Workshops
Software Proficiency
2015
Advanced
Freedom Sculpture Workshop, Directed by Shahryar Rezaii Shahid Bahonar University, November 14-18 Graphic Language TSD, Directed by Claudio F. Guerri the Iranian Academic Center for Education Culture and Research-Kermant Branch. October 11–13. Frankenstein Architecture Workshop, Directed by Javier Sanjuan Tehran University. August 30-September 3.
2014
2012
International Interior Design Workshop, Design on the Edge of the Desert along the Silk Road, Directed by Michele Ugolini A collaboration of Polytechnic University of Milan, Tehran University and Semnan University Tehran University. August 26-September 3 Tea and Architecture Workshop, Directed by Riichi Myake Tehran University, October 27-29.
Work Experiences 2019
Researcher and Translator at Tehran Urban Innovation Center Compulsory Military Service 18 months of obligatory service at Sistan and Baluchestan engneering unit of Police Force of Islamic Republic of Iran
2017
Internship at Zandigan Architecture and Preservation Firm Architactural design Researcher and Translator at Tehran Urban Innovation Center
2014
2013
Automobile 3D-Model Technician design of the smartphone advertisement application Kerman Motor Company
Rhinoceros 3D Autodesk Maya Vray Rendering Engine Autodesk AutoCAD Adobe Photoshop Intermediate Adobe Indesign Grasshopper Ladybug and Honey bee Autodesk 3Ds MAX Lumion3D Autodesk Revit Corel Video Studio Elementary Fluid Analysis with Autodesk simulation CFD
Programming Skills
Python Programing Microsoft Office Visual Basic (Excel and Word Automation)
Other Skills
Animation designer design of the smartphone advertisement application Mehregan Hospital
Photography
Environment designer & modelling technician Wonderful Dream Animation Studio
Model Making
Free Hand Sketch and Rendering 5
Design Criteria: Contemporary Ornament Architecture as a discipline is based on a handful of fundamental notions such as form, function, ornament, relation to the surrounding, cultural and social relevance etc. Ornament is among a few of these notions, which are persistent enough to be addressed in almost every architectural discourse. According to the spirit of each era, the definitive criteria which specify the relations between these notions arise differently. For example, in the Vitruvian era, in the hierarchical society, architecture was defined by three fundamental principles: Firmatis (Durability), Utilitas (Utility) and Venustatis (Beauty); they presented ornament as a means of establishment with which architects expressed the orders and social structures of their time. While in modernism, in an industry driven society presenting new social structures with a great optimistic perspective towards the future and also a craving for efficiency, architecture was based upon a binary: form and function; function worked as the prominent drive trying to replace the classical ornament. In the modernist era, extreme functionalism had gone so far as to let some famous architects express exaggerative poetic quotes such as “less is more”1 or “The house is a machine for living.”2, or even extremist quotes such as “Ornament is crime”3. Although modernism tried to abolish and oppress ornament in the name of purity and a new industrial era, it was not successful in eradicating it entirely. The ornamental character remained in the tectonic expressivity of the works designed by modernist architects. Instances of such approaches can be found in Le corbusier’s Unité d’Habitation of Marseilles where traditional ornamentation, i.e. carvings of leaves and flowers, are replaced by the marks of wooden formworks on the concrete pillars of the pilotis. Furthermore, the architects of the post-modern era, being among postmodernists, deconstructivists or more recent practitioners of digital paradigms in architecture and design, have created all sorts of affects and visual novelties in their works that are in their very essence ornamental. It seems that the main form that contemporary ornament has taken, is in spectacular affects that would try to engage the spectator with the building. This affect-based nature has created a problematic situation where it produces an architecture that is very interactive, engaging in a hypnotic way and tactile, but at the same time it voids any meaning in a Vitruvian sence due to its extreme abstract nature. Of course, there are cases in which this deprivation of meaning has been addressed. Hints of meaning and symbolism are found within practices that reutilize ornamental patterns from traditional architecture in the middle-east; and there are cases that use plants and trees on the façade and within buildings implying the necessity to 1. Ludwig Mies van der Rohe 2. Le corbusier 3. Adolf Loos reconnect with nature and to contemplate sustainability.
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Arastoo Khajehee
In each of my projects I have tried to explore one of contemporary ornament’s aspects and how it can be integrated into the design. How can ornament not only complement the building’s expressivity and experience in cultural, social and spatial grounds, but also make architecture worth remembering.
Derived pattern from Iranian Steel plates for traditional architecture acoustics purposes
Computer manipulations Facade structural walls
Open space designed within the building
Plants as ornament
Linear array creating a repetition affect
Structural Component
Reference to history and Making the building’s Embedded Public space in tectonic expressivity tradition expressed in the scale closer to the the building encouraging affect emphasizing the building’s facade human body to contemplate nature structure as architecture 7
A New Way of Expressing Persian Architectural Ornaments Exploring the deconstruction of a single pattern in multiple planes Traditional architecture, including Iranian traditional architecture, has always been thought to be inseparable from ornament. This was the case until the modernist movement in the late 19th and early 20th century, which with it came the demise of ornament and ornamentation and even criminalization of it. This criminalization was a way of thinking based on what was considered as solid scientific fact at the time. Such facts would relate ornamentation to tattoos, which were considered as one of the dispositions of not only criminals but also uncivilized and primitive tribes. Regarding the discoveries in technology and other aspects of society in the 19th century, the practice of the primitives and criminals had to be vanished from the modern society that would glorify and purify the new world. (Ornament and Crime, Adolf Loos, 1908)(Criminal skins: Tattoos and modern architecture in the work of Adolf Loos. Canales, Jimena and Andrew Herscher. 2005.) Such a way of thinking, which at its core is racist and is not derived from reliable fact, is not considered valid today and its abolishment has laid path for a new way of manifestation of ornament. However, this new ornament is completely with a new meaning and character. Although it tries to distance itself from theorists like Loos, nevertheless, it is affected by the modernist impact on design methods. (Ornament: The Politics of architecture and Subjectivity, Antoine Picon, 2013). 8
Arastoo Khajehee
One of the forms that ornament has taken in its return to the contemporary architecture is the abstract and digital patterns that are made by using the latest computer aided digital fabrication techniques. In this exhibition, I have tried to demonstrate this method by using traditional ornamental patterns in the contemporary architecture. In addition, I have tried to revive the Eslimi Art, which was one of the ancient practices within the traditional Iranian architecture; it created astonishing patterns using mathematical geometry. By exploding and then reconstructing the pattern into 3 separate layers placed at a relative distance from each other on a transparent material, I have tried to make it more interactive and tactile. Interactivity and tactility are two of the fundamental characteristics of contemporary ornament.
Each pattern layer would cast a different shadow with a different scale. As a result, moving the light source would create the feeling that the shadow slides and moves on itself.
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A New Way of Expressing Persian Architectural Ornaments
Point light at the center of the pattern, getting farther away from the object: The shadow would shrink in size,
Point light moving vertically, maintaining the same distance from the object: The shadow at first feels distorted and as the
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Point light moving vertically, maintaining the same distance from the object: The shadow is most coincident at the perpendicular
become blurier and the 3 layers of shadow become more coincident
light source would come closer to the center, the shadow would become more and more cocoincident
point on the wall from the light source and by moving it the starting point of the pattern would also move
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Kerman City Theatre House Bachelor’s Degree Final Design Project Grade: 19.25 out of 20
Design Approach: Exploring Gibson’s Theory of Environmental Affordances, Theatre Performance Type Affordability and Diversity
Theatre performance is in fact one of the most sophisticated art forms in terms of interaction between the audience and the play. The role of the theatre building complex should be providing all the means and tools for the evolution of this art form. It should help the artists and the pioneers of the performing art of theatre to explore new methods of interaction between the play, performers, and the audience in addition to assisting them to be as innovative as possible in every aspect of this field. In other words, the theatre building should create all the affordances needed for innovation in the performing arts. If we consider the theatre building as a “spatial niche” or an “environmental niche”, the performers and the audience are the “subjects” or the “occupant”; they are the alterers and the observers. The “spatial niche” should offer complexity, diversity and changeability towards the artists. It should afford the audience to have a good and inspirational time. In addition, this complex should offer the creators of plays all the requirements for designing, writing and producing. The city theatre house should be culturally and spatially engaging enough for the people to choose to attend and have their time in it. Innovative and interactive ornaments that are rooted in long appreciated works of traditional architecture can prove to be exceedingly great sources of inspiration. 13
Kerman City Theatre House
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Kerman City Theatre House The aim was to provide the directors and writers of plays the most diverse choice when considering the relationship between the actors and the audience in order to create the best interactive experience between them. To reach this goal, three of the most dominant and yet different auditorium formats were chosen. These three different auditoriums were connected to one another through a double heighted lobby whose design was also inspired by an auditorium format. In addition, a “black box” auditorium that is one of the latest auditorium formats that is mostly used for contemporary plays was positioned apart from the main building but still connects to the lobby through staircases and other spaces. The Lobby was designed and inspired by the In-the-round auditorium format having two levels of surrounding audience and a play space in the center to be able to accomidate festval and event-based plays.
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Proscenium theatre
Thrust stage format
Traverse format
The wide fan
Amphitheatre format
In-the-round format
Corner stage – 90° arc
Straight Stage
Courtyard format
The Swan
Hourse Shoe box format
Black box
Rehearsals
Straight Stage
Audience
Play Space Audience
The Black Box
Thrust Stage
Stage Lobby
Open Stage
Wide Fan Stage
Building Entrance
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Kerman City Theatre House
Thrust Stage Type 02
Straight Stage Type 01
Stage Lobby Type 06
Waiting Room Connectors
Wide Fan Type 04
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Art Gallary
The Black Box Type 03
Open Stage Type 05
Kerman City Theatre House
Space Names 1 600 seat Auditorium 2 240 seat Auditorium 3 260 seat Auditorium 4 200 seat Black Box 5 Director ’s room 6 manager’s room 7 dressing room 8 storage
9 W.C. 10 make up room 11 fly tower controls 12 Fly tower Wings 13 Control room 14 Fly tower 15 Waiting room 16 Tickets 17 Foyer
Ground Floor Plan
18 Permanent Gallery 19 Small Gallery 20 Exhibitions 21 Security 22 Park Entrance 23 Square Entrance 24 Scenery, Painting and Clothe design Workshops 25 600 seat Aud. Rehersall 26 240 seat Aud. Rehersall 19
Kerman City Theatre House
Section B-B Rehearsal Auditoriums
Section A-A 240 Seat Auditorium
Public Parking
260 Seat Auditorium 600 Seat Auditorium 200 Seat Black Box
Lobby Entrance Facing the Street
West Elevation
Fly Tower
South Elevation
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600 Seat Auditorium
Book CafĂŠ
Lobby Entrance Facing the Park
Gallery
200 Seat Black Box
Optimal sound reflectors designed in grasshopper Book CafĂŠ Dry & Cold Storage
Fly Tower
600 seat Auditorium Backstage
260 seat Auditorium
Administrations
Control Room
Lobby
Control Room
Fly Tower Music Backstage
Section A-A Green Room
Stage Orchestra Removable Seats Sorage Lift
Triple Layered Sound Barier Walls and Ceilings
Mechanical
Stage Lift
260 Seat Aditorium Practice Space Form Process
240 Seat Aditorium Practice Space
Storage
600 Seat Aditorium Practice Space
Front Stage
Back Stage
Storage Space
Section B-B
Stage & Fly Tower
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Kerman City Theatre House Designed Construction Details
Plan
steel plates steel rods CNC plasma concrete cut corten steel Sound Reflections
Detail 02 Exterior walls design to prevent undesired outside/inside noise
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Welding Plates in order to join the Blocks and CNC Cut Plates
The wall of the black box theatre has been designed in a way that can be opened. It would connect the auditorium to the open space Detail 01 of the park for special occasions.
Pattern Carved Travertine Stone
Detail 03
The First Patterned Glazing The Second Patterned Glazing The Third Patterned Glazing
Kerman City Theatre House All the performance auditoriums were analyzed and designed accordingly, in terms of acoustical performance and sound clearance.
Sound Paths with more than 30ms delay
Sound Reflector Surfaces
In addition to the Grasshopper definition, used for the hanging reflector surfaces inside the auditoriums, the software used for the acoustical performance was a plug-in for Rhinoceros 3D 5, called “Pachyderm Acoustics�. On the Left, there are examples of the acoustical analysis by this software.
The Wide Fan Auditorium (600 Seats) Sound Receiver (Listener) Sound Reflector Surfaces
Sound Source (Speaker) Eco Producing Surfaces
The Straight Stage Auditorium (240 Seats)
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Sound Paths with more than 30ms delay
With much thanks and best regards to Mr. Arthur van der Harten for sharing his software with me so generously for this project and emailing me the latest version that he was working on at the time.
Desired sound reflection ellipse
Curved and straight reflector surfaces
Speed of Sound in 25o C 346 m/s
Maximum Sound Delay acceptable for lectures and theatre performances 30 ms
Direct Sound + 10.38 m “30 ms” - Off Surface Reflection Speaker
Listener Off Surface Reflection
Maximum Distance (X= Velocity*Time) 10.38 m
Undesireble Echo Suitable Reverberance a+b=c+d
Reflectors Outside of the Sound Reflection Ellipse should not be reflecting to the Listeners
Suitable Sound Region
Sound Source Region
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Brooklyn Bridge 15 Dead, 24 may 18841
Hillsborough Stadium 96 Dead April 15, 19891
Parade in German, At Least 19 Dead July 24, 20102
Smoke in Delhi Metro, Jun 16, 20173
Autodesk Simulation CFD
There is an interesting resemblance between the movement of particles of a fluid and that of individuals within moving crowds especially inside contained and closed spaces that would limit the directions in which one can choose to move. If one observes the way that people push each other inside crowds moving towards a certain direction, one can see that it is very much alike the forces that particles of a fluid exert on each other. These forces, when studied by fluid dynamics, show the patterns of movements and trajectories that form paths in shape of curves. Of course, the factor of choice that is the characteristic of individuals within crowds should not be neglected when thinking about this resemblance, but since we are trying to design for emergency situations such as fires or earth-quakes, this choice would become very specific: “find the nearest exit to get out of the building,� which is very much alike what particles of a fluid try to do within containers that have holes for the fluid to exit from. Thus, the identicality of this choice would make it relevant to utilize fluid dynamics calculations to design spaces with large numbers of people inhabitation.
The furniture of a lobby is one of the most important factors that should be accounted for since the way that it is organized would play a great role in attracting people to spend time inside the building. Another important aspect of furniture design within spaces that inhabit large numbers of people is the fact that they would become very dangerous obstacles in times of emergencies. Thus, in order to prevent uncontrollable circumstances that would result in death in such situations the positioning and the shape of the furniture should be designed with great care.
1- https://listverse.com/2010/11/26/10-tragic-human-panics-and-stampedes/ 2- https://scroll.in/article/903926/how-physics-and-psychology-can-help-develop-a-science-of crowds-to-prevent-panic-related-disasters 3- https://www.hindustantimes.com/delhi-news/smoke-in-delhi-metro-compartment-triggers-panic at-laxmi-nagar-station/story-secalrhajqzol8eyvzocjo.html
Fluid dynamics simulations using Autodesk Simulation CFD in multiple phases with different input forces (entrance and exit).
Movement Paths
Safe Regions
Movement Paths
Interaction
Benches that create spaces and regions suitable for groups to sit around
10 20 30 40 Input Number of People 230 200 170 140 Auditoium 150 120 90 60 610 230 200 170 140 85 55 25 0 Trust Stage 90 60 30 0 260 85 55 25 0 50 20 0 Straight Stage 80 80 50 20 0 240 80 50 20 0 Output Number of People Park Exit 500 500 500 340 Square Exit 500 500 500 200 Coffe Shop 110 55 0 0
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60
110 30 110 0 0 0 0 0 0
80 0 80 0 0 0 0 0 0
340 200 0
340 200 0
Kerman City Theatre House To make the entrance of the building more interactive with the spectators, a very dominant traditional Iranian motif was chosen. The pattern was divided into 3 layers with relative distances to one another. This distance would create an interesting ornamental affect that engages the viewer in experiencing the building. With this affect, the varied position of the viewer in the front of the facade would define the beginning and the distortion of the patten.
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Rehearsals Auditoriums
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Square Facing Entrance
Gallery Interior
Gallery Entrance
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Sustainable Residential Complex Architectural Design Studio 5 Grade: 19 out of 20
Design Approach: Sustainable and Energy Sensitive Residential Spaces According to the United States’ statistics, regarding energy consumption, 76% of the electricity consumed in the US is used by buildings. Also, 40% of the whole energy and 30% of the water consumption of the nation are used by buildings.1 If the situation in America, with all its strict regulations on building efficiency and quality, is like this, what the developing countries, without such regulations and lack of accurate estimations and supervision, would be like in terms of energy and resource consumption? Since these consumption rates are rooted in our lifestyle, designing energy efficient buildings might not be sufficient to address the matter. It is necessary to educate people to change their behavior in this regard. Perhaps by utilizing architecture’s expressive potential, we could reach this goal. Placing plants and green spaces within the building and on the facade of it, where they are most integrated in the everyday-life of the occupants, might be able to denote the residents that they are living in a building that was designed with such endeavors in mind. In other words, by planting on both the envelope and within the building we could create an affect-creating object, spread throughout the entire built space, which symbolizes the notion of sustainability alongside the active experience of the building. In this project, I have tried to design residential spaces that are worthy of human dwelling while benefiting from maximum daylight and ventilation, density, and public spaces. 1. Dr. John wargo, environmental politics,Yale university open courses 33
Sustainable Residential Complex
Prevailing Wind Direction
Design Site
Sun Diagram 34 Arastoo Khajehee
30°18’29.28”N 57° 2’21.11”E
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Initial Blocks
Wind Resistance Regions Horizontal Wind Simulation
Final Block
Light and Ventilation Cut Out
Vertical Wind Simulation
Simplification and Further opening for light
Wind Breaker and Light Providing 45O Cut Out 36 Combined Vertical And Horizontal wind Resistance
Photovoltaic Cells
Facade Louvers
14123-m2 Vertical and horizontal Green Space and plantation
When designing tall buildings, the most dominant structural force that effects the building shifts from dead and live loads to wind forces. Thus, after combining the effect of the vvnorth-south wind and the east-west wind (prevailing winds) simulations, the optimal mass block was discovered. Then, a 45O section was removed from the building to further reduce this effect . This cutout provided more natural light and ventilation potential to the residential units . In addition, it provided platforms where public spaces could be placed within the building itself.
Indirect Light
Indirect Light Increasing Natural Light Exposure
22906-m2 Residential Space 1382-m2 Elevated Public Space 3567-m2 On Site Public Space Direct Light
Building Structure Frames
Direct Light Elecrticty Production Maximizing natural lighting capacity
Site Routes
Maximizing Natural Ventilation Capacity
Final Design
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C
Ground Plan
B
D
E
F
G
H
N
B A
B
B
Parking
Shop
B Gym
A
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Roof Plan
B
Type 1 H-1-2-3-4-5-6-15-16-17-18
Type 5 E -14 C-14 A-14
Type 9 E-10 C-10 A-10
Type 13 E-6-7 C-6-7 A-6-7
Type 2 G-1-2-3-4-5-15-16-17-18
Type 6 G-11-12-13-14
Type 10 F -9-10 D-9-10 B-9-10
Type 14 G-7
Type 3 E -1-2-3-4-5-8-15-16-17-18 C-1-2-3-4-5-8-15-16-17-18 A-1-2-3-4-5-8-15-16-17-18
Type 7 F -11-12-13 D-11-12-13 B-11-12-13
Type 11 H-10
Type 15 H-7-8
Type 4 F-1-2-3-4-14-15-16-17-18 D-1-2-3-4-14-15-16-17-18 B-1-2-3-4-14-15-16-17-18
Type 8 H-11
Type 12 G-6
Type 16 B-D-F-5
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Sustainable Residential Complex In large scale and high density residential buildings, embeded public spaces provide opportunities for the residents to inteact with each other and form communities With this goal in mind, the space should provide the requirements for the occupants’ needs. Thus, multiple roof gardens with different environmental conditions have been designed to provide the favorable public spaces through out the year.
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Southern Roof Gardens Broad view for times with no obstrusive sun light & more sunlight for colder seasons
Northen Side roof Garden Green public space within the building to hide from the obstrusive sunlight for warmer seasons
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Section A.A.
Winter Sun Elevation Angle Summer Sun Elevation Angle
Section B.B. 42 Arastoo Khajehee
South Elevation
30°18’29.28”N 57° 2’21.11”E Summer Sun 01 July 12:45 Tehran (+3:30) Elevation : 77.54 Azimuth: 122.53 Winter Sun 31 Dec 9:00 Tehran (+3:30) Elevation : 23.60 Azimuth: 138.69
West Elevation 43
Sustainable Residential Complex
C
F
E
G
H
Ground Floor Public Space
D
E
G
F G
H Ground Floor Public Space
H
B
E
Ground Floor Public Space
Ground Floor Public Space
D
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Kerman Sports Center Architectural Design Studio 4 Grade: 19 out of 20
Design Approach: Structure as Architecture Tectonics and the Structure of a Building is an essential and fundamental aspect of the practice of architecture regardless of it being traditional or modern. With various shapes and types such as columns, beams, planes or more advanced systems, it is the designers’ role to integrate it with all the other aspects of the building and make sure that its perceptible existence in the actual experience of the building is considered. There are different approaches and methods of dealing with the structural and load bearing members of a building that can be categorized into two groups: 1. Having the structure as an embedded and almost invisible part of the building 2. Having the structure of the building completely visible and present, having it either in contrast or infused with the form of the building In this project, I have tried to design the building as a tectonic whole; having the architectural and the structural parts of the building complementary to each other. In regards to the this design approach, the structure of the building should have an ornamental function that not only specifies the order and layout of the project but also adorns it.
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Kerman Sports Center
Steel Tri Beams
Concrete Slabs
Steel Beams
Concrete Walls and Columns
Concrete Walls
Steel Columns
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2
3
1
Designed Construction Details
Light Weight Roof Non Structural Wall Main Steel Tri Beam Steel Plate Concrete Columns Steel Bars
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Rain Water Collector Joist Water Tubes Sky Window Heat Collector Heat Isolator Main Beam
Heat Collector Heat Isolator Water Tubes Ceramic Glass
Floor Finishing Water Slope Conctrete
(Light Weight Concrete)
Main Beam
2
Beam System Height Extender
Floor Concrete Hard Core
Ground Soil
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Photography
Arg of Karim Khan, Shiraz, Fars Province
Zinat Al-Molk House, Shiraz, Fars Province 05/25/2014 Vakil Public Bath, Shiraz, Fars Province
Borujerdi House, Kashan, Isfahan Province
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05/25/2014
05/25/2014
11,17, 2012
Nyasar Fire Temple, Kashan, Isfahan Province, Iran
11,17, 2012
Nyasar Fire Temple, Kashan, Isfahan Province, Iran
11,17, 2012
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Hand Sketch and Rendering
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Tomb of Saadi, Shiraz, 01/07/2012 Pen on A4 white pater
City Theatre, Tehran, 09/08/2013 Pencil on thin sketch paper
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Hand Sketch and Rendering
Agha Bozorg Mosque ,Isfahan Province, 11/17/2012 Pen on thin sketch paper
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Abyaneh village,Isfahan Province, 11/16/2012 Pen on thin sketch paper
Sketch and Rendering Exercise, 04/12/2012 Pen and marker on thick sketch board
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Digital Artwork Compositions
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Here are some differente trees that can be generated by the same script and the complete Python script (in small font).
__author__ = “Arastoo Khajehee (a.khajehee@outlook.com)” import rhinoscriptsyntax as rs import random as r def brancher(Pnt01,Pnt02,Scale,Spread,DirRandomness): Pnt01 = rs.coerce3dpoint(Pnt01) Pnt02 = rs.coerce3dpoint(Pnt02)
Digital art is a useful way to improve one’s technical skills. It is great method for to search for inspirations and practice the digital orament creation process without constraints. I designed this 3D Abstract Tree using recursive functions in the Python programing language. The Python script was written in the “GhPython” Component for Grasshopper. Rhinoceros 3D 6 was used as the platform software. The 3D models was created within Rhino, and was placed on the Python-generated Path lines using standard Grasshopper components, such as “Vectors”, “Orient”, “Move”, “Rotation”, etc.
Dis = rs.Distance(Pnt01,Pnt02) SclDis = Dis/Scale NrlVec = Pnt02 - Pnt01 Pnt03 = (Pnt02 - Pnt01)/8 + Pnt02 CenPlne = rs.PlaneFromNormal(Pnt03,NrlVec) if Spread == 0: CirPnt01 = Pnt03 CirPnt02 = Pnt03 CirPnt03 = Pnt03 else: Cir = rs.AddCircle(CenPlne, Dis*Spread) CirDoms = rs.CurveDomain(Cir) CirDom = CirDoms[1] - CirDoms[0] RandDir01 = r.uniform(-1,1)*DirRandomness*CirDom RandDir02 = r.uniform(-1,1)*DirRandomness*CirDom RandDir03 = r.uniform(-1,1)*DirRandomness*CirDom CirPnt01 = rs.EvaluateCurve(Cir,CirDom/3 + RandDir01) CirPnt02 = rs.EvaluateCurve(Cir,CirDom*2/3 + RandDir02) CirPnt03 = rs.EvaluateCurve(Cir,CirDom*3/3 + RandDir03) CirVec01 = rs.VectorCreate(CirPnt01,Pnt02) CirVec02 = rs.VectorCreate(CirPnt02,Pnt02) CirVec03 = rs.VectorCreate(CirPnt03,Pnt02) UnitCirVec01 = rs.VectorUnitize(CirVec01) UnitCirVec02 = rs.VectorUnitize(CirVec02) UnitCirVec03 = rs.VectorUnitize(CirVec03) RandSclDis01 = r.uniform(-SclDis,SclDis)*BrchRandomness RandSclDis02 = r.uniform(-SclDis,SclDis)*BrchRandomness RandSclDis03 = r.uniform(-SclDis,SclDis)*BrchRandomness SclDis01 = SclDis + RandSclDis01 SclDis02 = SclDis + RandSclDis02 SclDis03 = SclDis + RandSclDis03 SclCirVec01 = UnitCirVec01*SclDis01 SclCirVec02 = UnitCirVec02*SclDis02 SclCirVec03 = UnitCirVec03*SclDis03 BrnchVec01 = SclCirVec01 + Pnt02 BrnchVec02 = SclCirVec02 + Pnt02 BrnchVec03 = SclCirVec03 + Pnt02 return(Pnt02,BrnchVec01,Pnt02,BrnchVec02,Pnt02,BrnchVec03) def recussion(Pnt01,Pnt02,Scale,Gen,Lines,Spread,ingtr,DirRandomness): r.seed(ingtr) if Gen > 0: Seed = r.seed(ingtr +1) Points = brancher(Pnt01,Pnt02,Scale,Spread,DirRandomness) Line01 = rs.AddLine(Points[0],Points[1]) Line02 = rs.AddLine(Points[2],Points[3]) Line03 = rs.AddLine(Points[4],Points[5]) Lines.append(Line01) Lines.append(Line02) Lines.append(Line03) RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc01 = Spread + SprdRandomness*RandSpread else: RandSpreadSc01 = Spread - SprdRandomness*RandSpread RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc02 = Spread + SprdRandomness*RandSpread else: RandSpreadSc02 = Spread - SprdRandomness*RandSpread RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc03 = Spread + SprdRandomness*RandSpread else: RandSpreadSc03 = Spread - SprdRandomness*RandSpread recussion(Points[0],Points[1],Scale,Gen-1,List,RandSpreadSc01,ingtr,DirRandomness) Seed = r.seed(ingtr +1) recussion(Points[2],Points[3],Scale,Gen-1,List,RandSpreadSc02,ingtr,DirRandomness) Seed = r.seed(ingtr +1) recussion(Points[4],Points[5],Scale,Gen-1,List,RandSpreadSc03,ingtr,DirRandomness) Seed = r.seed(ingtr +1) return(Lines) def FnBranchrecussion(Pnt01,Pnt02,Scale,Gen,Lines,Spread,ingtr,DirRandomness): r.seed(ingtr) if Gen > 0: Seed = r.seed(ingtr +1) Points = brancher(Pnt01,Pnt02,Scale,Spread,DirRandomness) Line01 = rs.AddLine(Points[0],Points[1]) Line02 = rs.AddLine(Points[2],Points[3]) Line03 = rs.AddLine(Points[4],Points[5]) if Gen == 1: Lines.append(Line01) Lines.append(Line02) Lines.append(Line03) RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc01 = Spread + SprdRandomness*RandSpread else: RandSpreadSc01 = Spread - SprdRandomness*RandSpread RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc02 = Spread + SprdRandomness*RandSpread else: RandSpreadSc02 = Spread - SprdRandomness*RandSpread RandSpread = r.uniform(0,Spread) PosNeg = r.uniform(-1,1) if PosNeg > 0: RandSpreadSc03 = Spread + SprdRandomness*RandSpread else: RandSpreadSc03 = Spread - SprdRandomness*RandSpread FnBranchrecussion(Points[0],Points[1],Scale,Gen-1,List,RandSpreadSc01,ingtr,DirRandomness) Seed = r.seed(ingtr +1) FnBranchrecussion(Points[2],Points[3],Scale,Gen-1,List,RandSpreadSc02,ingtr,DirRandomness) Seed = r.seed(ingtr +1) FnBranchrecussion(Points[4],Points[5],Scale,Gen-1,List,RandSpreadSc03,ingtr,DirRandomness) Seed = r.seed(ingtr +1) return(Lines) ingtr = Seed List = [] Trunck = rs.AddLine(Pnt01,Pnt02) List.append(Trunck) TreeBody = recussion(Pnt01,Pnt02,Scale,Gen,List,Spread,ingtr,DirRandomness) List = [] LastBranch = FnBranchrecussion(Pnt01,Pnt02,Scale,Gen+1,List,Spread,ingtr,DirRandomness)
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Explosion
Rhino3D Photoshop Grasshopper Python Programing
Point cloud Rhino3D Photoshop
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Random Step Walker
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ARASTOO KHAJEHEE
ARCHITECTURE
P O R T F O L I O
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