Mohammad Hossein Eghlidos Portfolio, 2019 - Jan 2023

HOSSEIN EGHLIDOS ARCHITECTURE PORTFOLIO

AWARDS & HONORS

2023-URBAN MASTER PLAN - Honorable Mention International Design Awards - IDA NEW CITY OF TIS - Sistan & Balouchestan

2021-National Award - AKNOWLEDGEMENT IRAN’S NATIONAL ELITES FOUNDATION

2021-PUBLIC PROJECT - THIRD PLACE - FIRST PLACE IN ITS CATEGORY NOMAD STYLE NOMADIC LIBRARY OF IRAN All over Iran

2021-CULTURAL CENTER - People’s Choice UNI XYZ COMPETITIONS - Underearth Kayseri, Turkey

2020-PUBLIC PROJECT - SECOND PLACE SAHMAN SCHOOL COMPETITION Sistan & Balouchestan

2020-URBAN MASTER PLAN - SECOND PLACE NEW CITY OF TIS COMPETITION Sistan & Balouchestan

2019-CULTURAL CENTER - Editor’s Choice UNI XYZ COMPETITIONS - The Oasis Cultural Center Morocco

2019-HISTORIC HERITAGE SITE - SHORT LISTED FIRST YOUNG IRANIAN ARCHITECTS LEAGUE Hariri & Hariri Architects Competition)Bistoun/Kermanshah

2017-NATIONAL ENTRANCE EXAM - RANKED FIRST -Ranked 67 among the total 16,000 students in the first phase -ranked first in the second phase of the practical exam FOR MASTER’S PROGRAMS of ARCHITECTURE in IRAN

2016-

it renown

Writing this poem but it remains untold Despite it’s the best poem I’ve ever told

EDUCATION Galleries & PUBLICATIONS

BA in ARCHITECTURE ENGINEERING ISLAMIC AZAD UNIVERSITY OF SHIRAZ 2017 RANKED A WITH GRADE A 17.70)

Master’s in Residential Architecture Engineering IRAN UNIVERSITY OF SCIENCE & TECHNOLOGY 2020 RESIDENTIAL ARCHITECTURE RANKED A WITH GRADE A (17.83)

LANGUAGES :

SCHOLARSHIPS & GRANTS

References :

Sina mostafavi, PHD Texas Tech University Associate Professor

Ph.D. in Architecture, Delft University of Technology, Netherlands Texas Tech University, 1800 Flint Avenue, Lubbock, TX 79409 College of Architecture, Room 705 phone 806.834.2921

Sina.Mostafavi@ttu.edu

Amir Mohebi Ashtiani PRATT INSTITUTE Visiting Assistant Professor

Graduate Architecture & Urban Design 200 Willoughby Avenue | Higgins Hall North 1 Brooklyn, NY 11205 phone: 718.399-.4314

amohebia@pratt.edu

Mehdi Khakzand, PHD

PROFESSIOANAL EXPERIENCE

INTERN / JUNIOR Intern - Namazi Hospital’s Engineering Office - 2015 Junior - Architect-Talaye Daran 2016

SENIOR Geraphis - Rooydad Architects - 2020 FREELANCE ARCHITECT 2020-NOW

TEACHING & RESEARCH ASSISTANT IRAN University of Science & Technology 2019 - now

Conferences & Workshops

IRAN’S NATIONAL ELITES FOUNDATION AKNOWLEDGEMENT - 2021 RESEARCH GRANT - 2021

TEACHING & RESEARCH ASSISTANT IRAN University of Science & Technology 2019 - now

Hobbies :

Technical Skills :

IRAN University of Science & Technology Associate Professor of landscape architecture Deputy of Dean for Research Affairs, School of Architecture and Environmental Design

Iran University of Science and technology, Tehran, Iran Phone Number +98-21- 77240467

Departmental fax number: +98-21- 77240468 mkhakzand@iust.ac.ir

Seyyed Abbas Yazdanfar, PHD IRAN University of Science & Technology Associate Professor of Residential Architecture

School of architecture and Environmental Design, Iran University of Science & Technology, Tehran, IRAN

Phone Number 98-21-774500-9

Departmental fax number: +98-21- 77240468 Yazdanfar@iust.ac.ir

Saeid NorouzianMaleki, PHD Shahid Beheshti University Assistant professor

Faculty of Architecture and Urbanism Shahid Beheshti University,Tehran, IRAN

Departmental Phone Number +982129902878 - +982129902872+982129902880

s_norouzian@sbu.ac.ir

Intellectual Project

Rather than simply carrying the imprint of archetypal memories, each of the following drawings draws the user into a complex psychological configuration. Some make simple combinations of function and metaphor; others incorporate a time dimension, either through a sequence drawn out in space, or as a matrix that presents an orchestrated variety of options.

The technique of reconfiguring and reorganising elements certainly introduces a fictitious dimension into the territory of ‘truth’ which is normally expected from the architect. However, too much truth not only might be unexciting but also will surely fail to stretch the imagination beyond cliché or the tried & tested. Architecture is more persuasive if it is not built and an artistic interpretation of architecture helps to stretch it out of its comfort zone.

The classic manoeuvring of the architecture towards a more seductive form is on the one hand thought to be false, but architecture as a medium would move very little without it. There is a very valid argument for an artistic interpretation of architecture to stretch it out of its comfort zone, and is more persuasive if it is not built.

Moreover, architecture is all about narratives and the people narrating their perception of the world in the shape of Words, Drawings, and Objects. In my Dystopian/Utopian mindset, a phoenix always reborns from its ashes. Similarly, a Narratives might colide with other narratives and shape to another probable realities. By reading the world through this perspective, a geometry would break into smaller lines and shapes to another geometry, the alphabets of a phrase would be written in a different order and form to another phrase, a building would crash into another building and its spatial components would form to an alternative architecture. Finding an alternative method for speculation using this formula is a Medium which is called The CRASH Medium.

https://www.artstation.com/artwork/qQ0Bmn

* Collided landscapes, Drawings Based on the Architectural landscapes of Persia, painted by Jean-Baptiste Chardin (1643-1713) and Jean-Baptiste Eugène Napoléon Flandin (1809-1889 from the mid 17th to the late 19th century.

PARALLEL HISTORIES ;

FROM BUILDING TO DRAWING

CAAI SUMMER

SCHOOL

- ADVANCED ARCHITECTURAL

LECTURER : FARNOOSH FARMER CASE STUDY : NASIR AL-MOLK MOSQUE

STUDIES

This project is about a question which our ancestors were clearly had ways for expressing it. This is the way wind, water, soil and fire are expressed as the four elements in architecture. Light represents fire, and my question in these Project is: “ how to draw light ? “

Light is the origin. it is the tool of Genesis but Shadow is a place where light hides . It is a place for everything that tries to stay silent. Studying the relationship between this two ”find and hide” is the first step towards finding an answer to our question of how to draw light. to understand the relationship between light and shadow, we must study it in a specific context, just as we need a “canvas” for each drawing, and of course a “color”.

Architectural space can be my favorite canvas. For centuries, architecture acted as a refuge against fluids such as wind, water, and sunlight ... an ANTI FLUID… on the one hand, architectural space was a barrier against these fluids and on the other hand it was a container to these fluids. It was a container in which light, wind, and water flowed in a controlled manner according to the capacity of each container.

Drawing this container is a way to understand the coordinates of the presence of light and shadow. It is not possible to draw light as an object except by drawing its container. The container of light is Architectural space. Therefore, the relation between MASS & Void has been Converted in order to define the containers

VOID

MASS

*Molded chunks casted out of Resin , plexiglass , Chalk & Color ink.

Similar to the MRI scan, After the 3D scanning of interior space of the Nasir-Al-Molk mosque sectional molds is used to create the chunks (MASS). molds has also been used as chunks. It is palatable to mention that the colors are based on the RGB of the pointcloud.

*An interiror view to the mutated landscape of the light containers sitting next to each other.

ALTERNATE FUTURES; NO MORE OIL

CAAI SUMMER SCHOOL ADVANCED ARCHITECTURAL STUDIES LECTURER : AMIR ASHTIANI

*Wind turbine installed on gigantic oil tankers

*Solar wings of a solar cargo ship

*Ships desalinate seawater and store the fresh water & salt as their cargo

*Spreaded solar wings of a solar energy unit on the former oil/gas rig

The image as a painting before the modern era had a close relationship with narratives that were sometimes modeled on culture, sometimes driven from history, and sometimes shaped by the artists or architects. Since then, the concept of reality has been challenged by many artists and filmmakers. The Matrix trilogy is one of the most remarkable works that challenge the audience’s understanding of reality. In contemporary philosophy, new angles of reality and Anthropocene are defined by Timothy Morton. For understanding these concepts, aesthetics are raised and become a medium of communication to understand and produce the reality. In this project, we discussed the role of the “aesthetics” in the reproduction of reality based on narratives.

While there are more than 12,000 oil rigs and oil tankers around the world, the number of broken rigs and ships is increasing. The big question is, what to do with these huge infrastructures when the flow of fossil fuel production stops ? Removing them is a very costly and difficult operation, and allowing them to rust and gradually deteriorate is an environmental redflag .

Now that the control of climate change is on the agenda of governments and international institutions, upgrading these platforms, ships and infrastructures has been proposed as structures for the production of clean energy. By installing solar panels as well as wind turbines on oil rigs and tankers and commercial ships and massive batteries instead of gas and oil tanks, they become structures called “solar ships” and “wind ships” to produce and transmit clean energy. furthermore, by adding new structures, they can be used to desalinate seawater and transfer fresh water, and in fact turn them into “water ships”.

TEAM Mohammad Hossein Eghlidos, Fatemeh saeedinasab

NOMADIC LIBRARY

Project

context : ALL OVER IRAN

Third place - Frist place in its category

Status Under construction Team : Mohammad Hosein Eghlidos (Architect), Ehsan Lessani ( Architect )

The nomadic population of Iran is spread over an area of 963,000 square kilometers which is close to 60% of the total area of Iran. This means that the nomadic architecture of Iran has been formed in different climates and with different cultures and traditions. On the other hand, the background and history of the nomads have values that contain an important part of Iran’s history and have united the nomadic people together.

Different solutions can be taken considering the questions raised. Instead of creating an alternative model for nomadic tents, this project tries to review and reread the typology and morphology of Iran’s nomadic architecture, taking into account all the principles of the past. Nomadic tents have a lot of diversity according to factors such as climate, religion,customs, ecological materials, art and aesthetics, culture, and economy.

The black tents of the Bakhtiari tribe are the discussed case study in this design, which can be achieved to some extent by changing the module and design proportions and materials used in each tribe and changing the arrangement of functions in relation to the context .

The project starts with the need to construction a mobile library unit as a temporary nomadic cultural center which is in constant contact with the nomadic community. This process aims to make library services available to scattered nomadic communities with a sedentary or seasonal migration lifestyle.

In the first step, by investigating the proportions and studying the spatial sequences of nomadic black tents and by rereading and changing these sequences, we encountered the spatial separation and hierarchy of access. The design of the library is defined as prefabricated units that contain the books and do not need to leave the archive and change the library repository every time the project is set up and dismantled, which significantly saves time. The roof of the library is designed to provide suitable light for reading and better air circulation without an integrated roof but in cold, mountainous and humid climates, it can be changed .

In order to criticize the traditional concept of the library, which was considered as a space for storing and lending books, the entire archive and repository of the library is made available to the public, which results in the experience of touching, experiencing and reading each of the books in It is up to everyone . In the other part of the tent, a space called open space has been designed, which is intended for holding educational classes, e-government facilities, movie screenings, holding cultural events and studying.

The structure of this portable unit, like nomads’ tents, is designed from a combination of columns and cables to bear both compressive and tensile loads at the same time. The similarity of this structure with nomadic tents leads to compatibility with the design platform and quick and easy installation, and the technical familiarity of the users with this structure, and as a result, better and easier acceptance and application of this unit. The fabric cover can be changed according to the variety of tribes and climates in different provinces of Iran.

POSSIBLE PATH; RETHINKING TRADITIONS

Case Study : Yazd’s zorrostrian DAKHMEH

Tutor: Pooyan Ruhi

TA : Soroush Naderi

Seaching for probable possibilities which had questioned the neccesity of an Architecture, the moment of “Becoming” in the mindset of an architect should be challenged and we must put aside the sanctity of our ancestors knowing that : “ The good choices of our ancestors were not necessarily the best choices available. “

This project is a futuristic project that takes the historical architecture of Iran as its starting point.. The rich formalism found in Iranian architecture makes it possible to look at it as a source of objects that are ready to start designing with.

The hierarchical and traditional space of historical architecture of Iran is overturned and turned into a mass during a process. Using a set of techniques, this mass loses its initial authoritarian characteristics. The first object is “ DAKHMEH” which is a circular burial site sorrounded by a brick wall on top of a mountain near Yazd which is a historical city in the center of IRAN . This Site is used for the funeral rituals of the zorrostrians .

In this ritual , the deadbodies should be left there to be eaten by birds such as vultures. The bones will be gathered at the end of this 40-day long ritual and then it will be burried in the carved stone graves in order to prevent soil from the pollutions and the toxics caused by the dead bodies. This is a prepondrant beliefe of the zorrostrian philosophy to protect air and soil from all possible pollutions. Following this Architecture is not an exception. Firstly, we should reach out to the bones of the Persian Architecture with the goal to find our contemporary persian architecture style. The main goal is simply to expand the burial site using the architectural elements.

It is only in this way that we find the courage to turn back to the past and imagine probable possibilities in line with the works of our fathers, in which our architecture has led to the parallel timeline which has experienced a different path in history , arts & traditions. Perhaps the one who turns towards the half-closed doors of the past is more courageous than the one who walks into the darkness.

POSSIBLE PATH; REVISITING VERNACULAR

Sarvestan Sassanid Palce, Fars, Iran Tutor: Pooyan Roohi

The point of departure for this project is the abstract motifs found in the persian carpets. Along this path and in an experimental approach, they are repeatedly edited, redefined, collapsed, collaged and create an alternative object; A strange reality that is somewhere in the middle of the familiar reality and the unfamiliar reality. By going through several different stages that are following geometry production techniques, a new geometry is created that is obtained from the initial motifs and at the same time (apparently) does not have a direct and clear relationship with it. In the next step, the sectional object strategy will be used to create a spatial system that is different from the original traditional spatial system.

Unspoken Poem;

Amir Chakhmagh plaza, yazd, Iran

Personal Project JAN 2023

Historical Architecture of Iran is being destroyed and forgotten among the cities full of misreaded modernity which has nothing to do with this lost history. The goal for hunting these scattered pieces of the past is to find an escape route for the salvation of this forgotten architecture. But corruption and oppression are so rooted in this city that they don’t allow for the emergence of anything other than themselves and this false modernity. So the architecture destroys itself and looks for an alternative in its ruins. Like a phoenix looking in its ashes till it rises again.

REWORK//WORKSPACES; BROKEN NARRATIVES

DIGITAL FUTURES 2020

Instructors: AREK KESHISHIAN, VAMSI KRISHNA VEMURI, ALEX AHMAD

TEAM MEMBERS: MOHAMMAD HOSEIN EGHLIDOS, NILOUFAR RAHIMI

The aim of this project was a representation of a broken palace, and the recreation of its elements to heterotopic ambiences. The palace belonged to a king in an ancient Persian fiction so-called “Seven Figures”. in this fiction , the King sends for seven princesses as his brides and builds a palace containing seven domes for his seven brides, each dedicated to one day of the week, governed by the day’s planet and bearing their symbolic colours . after the construction , architect of the palace tells him that I created the most beautiful architecture in the world for you, but put a brick in the building that if it is moved, the palace will be destroyed. So the king ordered the architect to be killed so that no one knows where the brick is. The story of this project starts from the day when a worker finds this brick and the palace collapses. Its seven domes turn into a thousand pieces. Each piece becomes a hub for a craftsman to build and live. With the fall of the Palace, the oppression and hierarchy will be destroyed, but some of the narrator’s poems will still remain in its elements to be found ...

Moshir mosque // IRAN famous for its unique persian tiles

SOLTANIYEH DOME// IRAN 3RD biggest break dome in the world

3D-GAN

IN ARCHITECTURE; The rotten Architecture

Digital futures 2022 Instructores : Benjamin Ennemoser, Ingrid Mayrhofer-Hufnagl, Quinn McCormack

This workshop explores speculative design methodologies of spatial generative adversarial networks (GANs) with architectural 3D datasets. More precisely we train 3D models of vernacular intelligence in order to generate hybrid objects through the help of artificial intelligence (AI).

Hybrid Primitive Objects

Master’s Thesis;

Object-oriented neighborhood design in the historical context of Shiraz (Darb Shazdeh neighborhood)

2020-Iran

University of Science and Technology Supervisor : Seyyed Abbas Yazdanfar, PHD Advisor : Mehdi Khakzand, PHD

With an object-oriented approach and relying on the physical elements of the Qajar houses of Shiraz to design residential and social spaces, we can reach a new alphabet for contemporary design in historical contexts. The need to define a new path for design in the historical context of Shiraz lies in the fact that this context has been severely damaged and worn out in recent years due to the migration of its original residents to other parts of the city. Consequently, there are many areas in this context that have been destroyed or abandoned like an island in the middle of this historical context. Any design in these areas is an opportunity to provide the possibility of recovering the lost residential architecture of these destroyed houses in an integrated way with the surrounding context. Restoring architecture in such contexts requires a complete understanding of its previous architectural language . Such a design is like a historical collage. A city-collage that connects the islands. To illustrate any physical aspect of this urban collage, we need three images with different scales. An overall picture of the city, the house and its decorations. In this article and at the beginning by reviewing previous studies in the field of housing modules in Shiraz and also by examining the architecturalelements of 109 houses that belonged to the historical periods of Zandiyeh to Pahlavi II, we reached to a general understanding of the vernacular residential architecture of Shiraz. Then, among these 109 houses, 12 houses were selected to be used as the main chunks. The use of these objects is in accordance with the principle of abstract reference. The direct use of these components in the designis prevented. We made changes in these chunks according to the desired aesthetics so that they are suitable for contemporary life. Then by putting these pieces together both in the social space of the neighborhood center and in the interior of the houses, we succeeded in using these objects and defining them in the form of contemporary residential plans.

Central Yards as Neighborhood

Context Border and MASS

VIRTUAL WORLD BUILDING STUDIO; Gamma Collapse

2021-CAAI SUMMER SCHOOL ADVANCED ARCHITECTURAL STUDIES

Tutor : Hanieh Khaleghian - Pooria Bani Adam

Team : Mohammad Hosein Eghlidos (Story teller, Designer) , Mahsa Ardeshiri (Story teller, Designer)

Here in the myths of persian world, there is no fake myth/story. All the myths are alive and they wait for the best people to narrate them in their sublime stories. You have to believe in myths... otherwise you are gonna have dark days in your life. A good story is the element which keeps people alive ... Sometimes to tell Some times to hear ... it’s not food nor water that keeps people alive ... it is THE STORIES.

Our team illustrates the Gamma continent ( Linoy ) with all its components such as nature, animals, demonic architecture and detailed story lines.

Overall timeline :

2079: An asteroid hits the Earth

2083: The re-formation of small cities in the Alpha and Gamma ( Linoy ) continents

2091: Discovery of the hole under Alborz

2093: Start of the construction of Verjamkord

2098: Outbreak of a strange disease (The Blaze) in Gamma continent ( Linoy )

2099: End of Verjamkord construction

2105: Attack of demons from Gamma to Alpha and start of the Great War

2107: The construction of the first fort in Jeni Valley and the start of the construction of the Great Wall

2118: The end of the great war and the expulsion of demons from Alpha 2120: End of construction of the Great Wall

2121: Now

Sample conversation :

From the last transmissions of Capitan Artabanus:

- “ ... The gravity is bach again ... We are fighting with a horde of Ahrimans ... They are getting out of their cocoons one by one ... In this foggy swamps they are much faster and stronger than other lands of Linoy ... There is no chance of survival for us ... we wish we had never left Varjamkard for that ssssshhhhhhhhhhhhhh ... “

- “It’s so dark and gloomy here, I can’t breath. I can’t see those creatures but perhaps their suffocating presence enchanted me.”

*The BLAZE started with the emergence of an oil-like fluid which steems from a glowing plant. this fluid is called THE BLESS . In case of contact , it turns every living creature into something ELSE which produces THE BLESS and consumes it at the same time to grow. The Bless is also used by Demons to make coccones and when the bless is hardened, it looks like a diamond covering which protects the creature whithin from dangers during the zero-gravity hours

Patient zero was a 27 years old girl who found a strange plant steeming a black filthy fluid in her backyard .

*There are 3 different spiecy of the Beasts . they take shelter in their coccons during the zero-gravity moments .

*Coccons grow on european landmarks and abandoned urban and suburban zones .

Persumptive Architecture;

All the Power to Fantasy 2022

Narrative based Design Article Team : Mohammad Hosein Eghlidos (Story teller, Designer) , Mahsa Ardeshiri (Story teller, Designer)

“In the introduction to Red Plenty(2010) Francis Spufford writes: “ This is not a novel . It has too much to explain, to be one of those. But it is not a history either, for it does its explaining in the form of a story; only the story is the story of an idea, first of all, and only afterwards, glimpsed through the chinks of the idea’s fate, the story of the people involved. The idea is the hero. It is the idea that sets forth, into a world of hazards and illusions, #monsters and transformations, helped by some of those it meets along the way and hindered by others.”

But these is still literary and although it contains many imaginative proposals on a systemic level, it doesn’t explore how these shifts would manifest themselves in the detail of everyday life. We are interested in working the other way around—starting with designs that the viewer can use to imagine the kind of society that would have produced them, its values, beliefs, and ideologies.

In these examples, it is the backdrop that interests us, not the narrative; the values of the society the story takes place in rather than the plot and characters. For us, ideas are everything but can ideas ever be the story? “

- Speculative Everything (Anthony Dunne, Fiona Raby)

*Morgh e Shaam ( Long night Bird ), a demon who calls for cold and darkness

One of the main goals of architecture is to create a new reality. A reality that challenges our assumptions about reality and the idea we have about conventional artificial environments.

BLURRED HYBRIDITIES;

Expoloring emerging modes of architectural materiality

2022-Project context : Tehran city theater

Coordinator: Dr.Sina Mostafavi Tutor: Bahar Bagheri

“New technologies of representation always introduce new complexities and render image flow and materiality problematic in different ways. Digital technologies have introduced new ways of “seeing” the world and of rendering objects. Digital materiality in the age of the Internet of Things (as the network of physical objects or “things” embedded with electronics, software, sensors and connectivity) and the quantified self (as data acquisition on aspects of a person’s daily life through wearable sensors and computing) means that objects are constructed by and understood through the language of the digital. The new digital materiality is characterized by processes of seeing like and being seen through digital devices and has changed our relationship with objecthood and our representation a subjects.”

-CHRISTIANE PAUL, INTERNATIONAL JOURNAL FOR DIGITAL ART HISTORY,

2020_21, VOLUME 5

This project starts with the transformation of the 2D Plans of Tehran city theater by an AI . then it questions the physical identity of the architecture and tries to go after a digital identity for the same building. The relation between interior/exterior and the defenition of “Scene” in ancient Iran (which was always used to be placed at the middle of the theater and the audiences sit around the scene. on the other hand, there is modern europian theaters where the scene is placed at the front or at the corner of the theater) are the subjects that were investigated during the design. Scene in Persian art is something center-based which can be found from the miniators . even in the rugs , scene is something central.

Creative school; in the context sistan’s culture

2020-Project context : Sahman, Sistan & Balouchestan Iran

Design Team : Mehdi Khakzand, PHD

Mohammad Hossein Eghlidos, Maryam Anaraki, Iman Arab

Sarbaz city is one of the cities of Sistan and Baluchistan province, centered in Sarbaz city.

Sarbaz city has been one of the oldest large regions of Balochistan and has been home to large cities in different areas. The variety of climates in the region has led to the planting of various fruits such as dates, melons, bananas, juniper, mangoes, chiko, guava and citrus fruits such as lemons, oranges, tangerines, etc. Sarbaz is the habitat of all kinds of fishes and Iranian short-nosed crocodiles due to its greenness and the existence of a valley and a river with a length of 313 kilometers.

In this creative school design project in the context of culture and climate, one of the emphasized factors, apart from the category of design hierarchy in educational spaces, is the applicability of the project with an emphasis on the context and the climate which, considering the geographical location and the presence of the surrounding mountains, uses the vernacular materials of the region which is generally considered as stone.

In the design process, based on the cases of light supply in the educational spaces and the prevailing wind in those areas, the west-east direction has been aligned The distance considered between the classes has been created for proper air ventilation. The displacement of the volumes is for better ventilation and defining the middle yard to create a behavioral yard . The location of the classrooms is higher than the ground level due to the presence of high surface water level in different seasons of the year.

The creativity that is considered in creating the school environment is the division of three main zones in the design process: 1- defining the starting yard (library and workshop), 2- the middle yard (social) and 3- the living yard (sports and agriculture).

Defining the edge of the landscape is considered for a better connection between the building(figure) and the citizens (users) with the surrounding environment (ground . masses got different heights according to their different program

Defining the second shell with different heights above the main structure , and the use of palm leaves as the cover of this secondary roof structure are considered for shading and better control of sunlight and better air ventilation.

Wood and palm leaves have been used in the structure and the second shell of the project.

For shading, fabrics with vernacular and historical needlework patterns have been used to pay attention to the culture and the importance of colorfull fabrics in the clothes of people so that both the colors and patterns of the fabrics bring a sense of freshness to the environment and to the children .

In the school yard, vernacular trees such as gorse and palm trees and vernacular plant bushes have been used, besides the fact that a part of the yard has been set aside for agriculture, which is both an expression of the specific plant diversity of that area and a different activity to teach skills that are effective in children’s creativity.

SIAVOSH PAVILION ;

THE PASSAGE OF FIRE & BLOOD

MASHHAD URBAN ARTS FESTIVAL

Team : EHSAN EGHLIDOS , EHSAN LESSANI , IMAN TABRIZI

Location

: MASHHAD, IRAN

This project is a small-scale pavilion (30 m2), for deployment in public spaces of mashahd . a city where temporary space is constantly in touch with its retrocommunity .

The project deals with several intellectual issues and seeks to create an atmosphere that: While paying attention to the climate, bed and history of Toos and Mashhad, their values, arts and aesthetics, pay attention to the surrounding environment and create a view and strengthen the axis of Shahnameh Boulevard, which is perpendicular to Ferdowsi’s tomb. Presenting the story and subject, interactive point and using the capacities of visual methods, visual and auditory tools, simultaneous attention to new construction techniques, Paying attention to practical features and ease of use, observing the principle of saving and optimal cost in construction, and paying attention to the role of the pavilion body culture maker and the values that he can create in his bed.

Various solutions can be taken by considering the issues raised. In the first step of this project, it seeks to revive the scene of the culmination of Siavash’s story from Ferdowsi Shahnameh, that is, “passing through fire”, which Siavash accepts to prove his innocence and purity, according to the ritual of that time, because according to ancient belief, belief It is believed that fire has no effect on purity.

Training

Narrations based on the story of Siavash’s grief in Shah-nameh

The birth of Prince Siavash

Sudabah’s seduction and conspiracy against Siavash Siavash passing through the fire to prove his innocence

of Siavash by Rostam The Return of Siavash to the king

Online Portfolio :

Instagram

https://www.instagram.com/mhosein.eughlidos/ linkedin https:/www.linkedin.com/in/mohammad-hossein-eghlidos Issuu

Art Station https://www.artstation.com/mo-eghlidos

Videos :

Broken Narratives

https://www.youtube.com/watch?v=l8Kw6mQ0n8w

Bridgium https://www.artstation.com/artwork/qQ0Bmn

Competitions :

The Oasis Cultural Center

https://www.uni.xyz/projects/the-wahah-cultural-center-desc-the-oasis Underearth https://www.uni.xyz/projects/subterranean-museum-desc-a-hidden-yet-dy