Hessamedin Fana - Design Portfolio

Hessamedin Fana portfolio of architectural design - 2011

freelance Tall Emblem Structure

open competition Dubai, U.A.E.,(2009)

Tall Emblem Structure in Za’beel Park

collaborated as Design Assistant/Urban Dsigner with Kaveh Najafian, head of the team and Sahand Ahmadian Tehrani open competition Dubai - UAE 2009 20,000 m2

As the usual picture of Dubai has been shaped upon its numerous high profiled constructions all over the city and a lot more media-boosted pictorial architectural proposals which are all advertising a new urban era, Architects in different portions of competition conditions were asked to design something “iconic” to enrich “the magnificent skyline of the city”. We took that lead but in our own way: The 2 hectares site of the project is a part of the Za’beel Park which is the crossing point of royal lands, old Dubai and new CBD with direct and fast access from city’s air and sea ports. These advantages make one of the best urban conditions of the site through the city context which has brought up the idea to design an emblem not just for Za’beel Park and encouraging tourism but for the whole city regarding its fundamentals of existence.

Dubai due to its geographical situation is a city between two deserts: salty sea and burning wilderness; which cause an undesirable humid and hot climate. The only way Dubai could grow this large was to technically draw back these two dominant regions using technology. The city is leaning on a vast network of district cooling systems and clusters of desalination units; so we based our design upon this situation.

The proposal is conceived as an outer world, an inner space and an architectural form which functions as the transformer of these two to each other. 80 fin walls standing at the height of 170 meters have been erected round the site, creating a spatial effect by means of merging the non-uniform curves originated from free-formed central void into upright curves from extrusion of the site perimeter. The effect gets completed by using color.

Each fin wall has blue on one side and yellow on the other side that can resonate the condition of the city on the line between two deserts many unique times from different points of view.

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sequential completion of the structure

partial exterior isometric view

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+167.00 +170 DMD

design technique shows city’s geographical condition is processed to the Spatial Diagram

+167.00 +170 DMD

+167.00 +170 DMD

opposite; confrontation of two deserts in yellow and blue and the city in the middle

altering elevations of the main tectonic from different points of view

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1) site plan

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2) podium plan; level 0.00

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3) transverse section

4) interior perspective view of observation track standing 165m above the ground level

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5) an Overall perspective view from top

6) view from Dubai Creek at night

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Professional experiences Kish Punctum

Kish, Iran (2011) collaborated with HOOBA Design Group in collaboration with SHIRDEL & Partners Architects

Karaj Shopping Center Karaj, Iran (2006-2008)

Emirates Post

Dubai, UAE (2006)

Shiraz Tower

Shiraz, Iran (2006)

Villa Dabiri

Kelardasht, Iran (2005 - 2006)

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Kish Punctum

commercial, hotel and office complex collaborated as chief designer in charge / job captain

HOOBA Design Group Kish island - Iran 2011 57,800 m2

The project was aimed to act as an iconic building for the Kish Island due to its functional program and location in the city. Therefore, (1) we designed a floating U-shape form on higher elevation, to have an urban-scale effect and achieve a remarkable urban void. (2) Also, we formed another U-shape form, starting from the ground level, to create an impact on the urban surrounding of the project. The intersection of the voids of these two forms created an internal void that linked the two forms as well as the forms to the urban environment.

The main technique for designing the form was subtraction. Initially, we assumed the building as a tapered extrusion of site margins that sets back as it rises up to make a reasonable distance from the neighboring buildings. In the second step we subtracted the voids of the previously mentioned U-shape forms from this basic extrusion. As a result we grew a diagrammatic form that has attained the permitted area, according to basic documents. The final form had two different themes that later inspired us in designing the facades; an exposing face of the project that is a geometric smooth layer, and on the inside was the internal void that contained the public platforms. To compose the final faรงade, we obtained a uniform mesh that grew from the outer layer in to the inner one with an overlaying skin on it, which could transform in color, fabrication, openings, pattern and so forth based on the dual theme of the final form.

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facading analytic diagrams

view from north-east

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1 urban scale (overshadow the whole city)

urban void

publically urban (influences both regional and urban env.)

overal envelop

local (wroks with surrounding neighborhood)

local plaza

2 private (only wroks for hotel)

public (wroks with the whole project)

urban (wroks with the city)

terraced roof-garden

public platform

1) diagram of urbanity; in order to achieve its spatial monumentality, the project needs to interact with the city in an extensive way, as well as its local environment.

2) diagram of publicity; the project contains different public areas in multiple levels, wich have formal and visual unity with seperate functionality.

urban plaza

3) spatial diagram; the project was formed by a U-shape void in higher elevation and another one starting from the ground.

The intersection of the voids of these two voids creates an internal void that links two of them as well as the forms to the urban environment.

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perspective view from Driyush Sq. (north)

perspective view of urban plaza wich is linked to the public platform of level +26.00 m through a direct escalator

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Karaj Shopping Center mixed-used mall

collaborated as chief designer in charge / job captain

Shirdel & Partners Architects Karaj - Iran 2006-2008 134,800 m2

The project is a mixed-used, commercial themed complex of approximately 150,000 m2 in Karaj, one of the fastest growing satellites of the capital, Tehran. Two cities connect through a variety of highways and one subway line, which are all facilitating a large number of journeys along the day.

As the project was not firmly defined, for the first step, we decided to organize the whole data including positioning in site, main accesses especially from the subway station next to the site, program volumes and urban facades, in a master plan/architectural concept.

Thus, we tried an inflexible cubic spatial organizer of three conjoined void/tunnel spaces, adjusted in Cartesian coordinate system manner, which resulted in a massive urban block looking into a three dimensionally extended void space. Besides saving the atmosphere from being affected by non-urbanized surrounding sites and providing an attracting indoor plaza, the void extension also gives a chance to many retail units to be seen from ground floor and be visited later. In order to lead more visitors to more remote parts of the complex, different entertainment facilities including a terraced garden and a multiplex were scattered over the floors.

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formation of the project

north-south void mass

east-west void mass

vertical void mass

commercial

services and circulation

non-commercial

view from south-east

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GF

1st floor

2nd floor

3rd floor

4th floor

5th floor

commercial

public / commercial surfaces

circulation

leisure and entertainment

layers superimposition

longitudinal section

cinematic completion of the model

functional diagram of the project

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EMIRATES POST Satwa post office

collaborated as chief designer in charge / job captain

Shirdel & Partners Architects Dubai - UAE 2006 2,900 m2

The project is a post-box office prototype on a 1700 m2 site, in Al Satwa, Dubai, designated as a financially autonomous unit to strew over the city involving least formal changes. The program was including three different portions; post-box zone, administration and retails, all were supposed to be inaccessible to each other.

As the basic concept, we used the same model of three conjoined void spaces as in Karaj, but conversely, here we even underlined the axial manner of spaces: putting functional boxes as an addition to each of three individual lofts in case nothing could obscure the perception of infinite axes. The very significant quality of the diagram was to unify all the three sectors, made them interacting without interfering. This character is so proper especially to the vertical space, which divided into two separate sections because of security reasons.

Three layers of an inner glass envelope, 3D crisscross structural frames and an outer projective opaque skin formed the structural diagram.

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night view from south-east

1) spatial diagram; 2) structural diagram; 3) longitudinal perspective-section; 4) transverse perspective-section

administration

glass envelope

post box zone

structural frames

retail

opaque skin

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2

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Shiraz Tower

Central Business District Gateway collaborated as senior designer of building skin and terrace garden design

Shirdel & Partners Architects Shiraz - Iran 2006 70,000 m2

In 2005 Shirdel & Partners Architects were asked to design a landmark building for the development of the new central business district of the city of Shiraz. Shiraz is an important historical city with a well defined spatial organization, combined with a specific geometrical space and topography, and a series of well planned Persian gardens which create a unique urban zone that further defines the unique urbanism of the city.

The site is at the intersection of the river, the historical garden zone and the main east-west thoroughfare of the city. In order to capture the legendary space of Shiraz and the historical garden zone, and a land mark as a gateway to the development of the new CBD, we devised a double loop system that could create a world unto itself, and at the same time open to and reflect the multi-spatial urbanism of the city.

The first loop organizes a heterogeneous program through private spaces, but the second loop entirely formed out of public spaces inside the high-rise complex, but connected and continued from the multifaceted urban space of the city; consisting of two separated atriums, acting as grand public interiors on the ground level, as the atriums move upwards, their two separated spaces become one and open up to a garden located above the mall. This is a public garden which in turn connects on two sides to the atriums of two office towers. The atriums connected on top, completing the public space loop at the observation deck. This double loop configuration provides a complete urban feature for the high-rise buildings, city within the city, describing the heterogeneous program and providing the high-rise as the extension of the public domain.

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cinematic completion of interwoven public viod with functional mass of shopping mall

Shiraz CBD gateway as a landmark for the new CBD

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Space of school of fish; a non geometrical aparatus making a spatial organization for all of the public spaces of the tower

perspective view of the public garden where the major elements of the program meet

perspective view of shopping mall atriums that load to the public garden

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Villa Dabiri

the Nine-Square House collaborated as chief designer in charge / job captain

Shirdel & Partners Architects Kelardasht - Iran 2005 - 2006 345 m2

The client asked us to design a vacation house plus two studios, one for painting and one for sculpture, both adjoined to main residential space. Although the area was full of magnificent natural views, but a grotesque kind of urbanism had blown most of the site views, in a way we had to use an inward-looking architectural concept.

The site is located on a steep slope at the foot of the Alborz Mountains and hardly accessed by two different ways, one of them overlooking the site from 2 meters above.

The spatial structure of the project derived from one of Indian urbanism and housing paradigms: Nine Square Grid. We applied a NSG on the site and terraced the slope into three steps and it became possible by using orthographic axonometric projection, as the site is rectangular, not square. The technique causes the terraces to fold up and fit into the site perimeter. The concept was composed of two L-shape elements, one duplicated, which are reverse to each other positioned in three units of the grid on top and at the bottom of the slope.

Elements connect to each other by means of two bridges in different levels from the ground, used to provide access to house and studios, also to shape a courtyard exactly on the center unit of NSG. The rest of units covered with a terraced-garden, which mostly isolates the courtyard and the house from outside.

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longitudinal section; two L-shape elements form the house (blue) and studios (purple)

Spatial structure; 1) The Nine-Square Grid was applied on the site, terraced it into 3 levels. 2) The terraced site was represented as an axonometric projection afterwards, 3) which caused steps to fold up.

4) To organize the project spatially, the axonometric projection is read as a planar configuration of three overlaced terraces that also fits the site.

left; axonometric view level +7.00

right; axonometric plan level +4.00

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Academic practices

Bam Media Center

Bachelor’s degree Project supervised by: Karim Mardomi (IUST)

Housing Complex in Tehran

Design Studio V supervised by: Bijan Fattahi (IUST)

IUST student center

Design Studio III supervised by: Karim Mardomi (IUST)

Bam Media Center Bachelor’s Degree Project supervised by: Karim Mardomi (IUST)

Iran University of Science and Technology spring - 2005

The proposal was to design a media center for Bam, fully concentrated on the process and language of design instead of final product qualifications. The procedure conceived of as two sets of simultaneously developing mechanisms, both derived from geometrical/spatial analysis of Bagh-e-Shazdeh in Mahan, Kerman, as a reference to the anteriority of architecture.

In former analysis, the plan of the garden considered as a geometrical framework, which gradually turned into the main structural diagram of the project: two interlaced quadripartite grids. Inspired by the idea of Persian garden, this structure processed into a multi-layered and smoothly folded landscape, linked to the adjacent park at the height of (+10 m) from the site.

In latter, the garden represented through a combination of first, a vertical panoramic photograph of the garden and second, a drawing of an orthographic axonometric projection in which the viewpoint is positioned in the middle of the observed space: the concept diagram was achieved based on an in-between space. The concept developed afterwards to provide a container in order to cover functional components of the proposal. Then the whole tectonic uniformed in a media skin, which operates as a catalyst to make indoor public facilities accessible for both city and the park.

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analog model of the folded landscape and floor slabs

perspective view from south-east of garden to the complex

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media skin / catalyst

building / public facilities

1) Based on a vertical panoramic photograph, the garden represented through an orthographic axonometric projection in which the viewpoint is positioned in the middle of the observed space.

As a result, the concept diagram was achieved based on an in-between space.

The basis of the structural diagram is concluded from a geometrical analysis of Bagh-eShahzadeh: two systems of double quadripartite grids. Inspired by the idea of Persian garden, this structure gradually processed into a multilayered and smoothly folded landscape, linked to the adjacent park at the height of +10m from the site.

landscape / private garden 2) exploded isometric viwe

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3) cinematic sections of building (i-iii) and site (a-c)

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3

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ii

iii

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b

c

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view from the adjacent park at the level of +10m

south-east perspective view

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1) overall view from southwest

2) eastern free-form void space; a double glazed metal mesh

3) perspective view from Media Space to the cinema; Media Space is an in-between space, neither in nor out, but it is interior outdoor.

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3

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Housing Complex in Tehran Design Studio V

supervised by: Bijan Fattahi (IUST)

Iran University of Science and Technology spring / summer - 2004

The studio asked for the design of a housing complex of 100 units, on a 1.5-hectare site, benefitted by two highway accesses and delightful views to the mountains in north and a woods-park on the east.

The very essence of the design is to criticize the idea of “home, just as a resting place�. Instead, it proposes a new lifestyle through emphasizing on social facets of life. The idea is based on lightly exposed private spaces and juxtaposing incompatible functional volumes with different private/public values, which resolve themselves into a semi-private/semi-public ambience.

The project formed of 12 separated blocks; each, internally linked to one another block via multiple bridges. While this picture of blocks zipped together is making spatial impressions, bridged units are only able to see each other, but not able to physically connect. Also, all facades are designed using translucent concrete (except in bed niches and bathrooms), so one in a semi-public space is able to blurry-sight an event in a semi-private space, though outsiders cannot experience this explicitness, as far as the complex is designed in a way that only residents could find this intimacy.

Moreover, the project intends to create an evolutionary perception of space: as walking through different parts of the complex, particularly through landscape, one could see an event from different sides and gradually comprehend it as one singular event.

floor plans; level 0.00 (left) & level +9.00 (right)

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1) bird view from north-east

play grounds

parking

public zone building blocks

tracking loop

landscape

building blocks 2) view to the tracking loop and courtyards

3) view from eastern terrace to courtyard and parking area

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3

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IUST student center Design Studio III

supervised by: Karim Mardomi (IUST)

Iran University of Science and Technology spring / summer - 2003

The studio asked for the design of a student center, including several cultural facilities such as libraries, multimedia spaces and a convention hall. The building was supposed to reflect the technological tendency of the university to the outside viewer while maintaining transparency as the spatial character.

However, the design is based on “being transparent� not only as the idea of space, but also as the pivotal concept of both function and form. The main strategy was to thin out the space as much as possible. To do so, the whole structure wrapped up in a full clear glass skin while divisions on the floors minimized to the least, also a huge twirling exterior ramp employed to provide multiple direct access walkways to different parts of the complex. As a result, the building becomes legible to both inside and outside users and introduces a viable decentralized method of control.

In addition, a set of camcorders capture random events all over the campus to be displayed on a big interior screen, which makes mind games of simultaneously being in different parts of the campus. Also there are sets of camcorders/screens scattered all over the building to record and represent delayed actions of users to themselves, suggesting different perceptions of time and space.

north facade

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1

2

3

1) site plan

2) hand-drawing interior views of video sector, 2nd floor 3) hand-drawing interior views of extrecurricullar section, 3rd floor

east facade

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Personal activities

analog model making

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(L)ubes

a practice on geometry and 3-D symmetry

Borjes

right; Borjes tower; left: the library of Babylon

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The Encounter between Black Ghoul and White Beast in the Line between Two Spaces Mianeh-Iran 2005

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camera model: Canon, EOS 300D lens: Canon EF-S lens 18-55 mm focal lenght: 18 mm ISO speed rating: ISO 100

The frame is more about an architectural idea of space rather than a photographic representation. It puts a non-spacious flat foreground along with a deep perspective background.

The emphasis on “in� in the title for a linear concept (line), puts accent on this combination, provides different conception of space.

TEHRAN - CASABLANCA; 8 p.m.

Tehran-Iran 2010

camera model: Canon, EOS 300D lens: Canon EF-S lens 75-300 mm focal lenght: 155 mm ISO speed rating: ISO 100

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“The Other”s; this collection series is highly inspired by the idea of punctum, a key element declared by Roland Barthes in his “Camera Lucida”. Punctum is neither aesthetical nor cultural. It associates with each audience through a different and personal layer of meaning. In order to obtain such punctum, these photos try not to correlate with their audiences by the medium of photography but through engaging them with the stories inside.

The Other II

The Other I or it is not a photo montage

Camera Model: Canon, EOS 300D Lens: Canon EF-S Lens 18-55 mm Focal Lenght: 55 mm ISO speed rating: ISO 1600

Camera Model: Canon, EOS 300D Lens: Canon EF Lens 75-300 mm Focal Lenght: 155 mm ISO speed rating: ISO 200

Huramanat, Kurdistan-Iran 2008

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Huramanat, Kurdistan-Iran 2008

Alphabetics

in vertical order; T,K, i

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