107 Pavilion Apartments 34 St. Johns Wood Road, London +(44)7490857770
Tavakolinazila5@gmail.com
A fresh architect and creative seeker, graduated from university for the creative arts. My goal is to improve my design skills and knowledge in architecture and design at a professional level. Extensive knowledge of multiple architecture software programs and great teamwork abilities empowers me to identify and solve design issues in progress of projects. My educational background and involvement in various types of architecture projects through my internship program enabled me to discover how this artful science has the ability to affect the way people live, work, and socialize. In addition to my formal education, had the opportunity to work and manage different tasks in various segments of family business. This entails cooperating and dealing with a variety of people and responsibilities which improved my communication and management skills. Working as a marketing manager and quality controller in the motorcycle company leading to enhance my social skills.
July 2017 – Present
Worked successfully with diverse group of customers to boost company sales(Motorcycle Manufacture Company).
Provide motorcycle advice to customers based on their needs and preference.
Contributed to many designing discussions as marketing director
Ratail assistant
Assisting customers by providing helpful service and advice to determine their needs in a professional and enthusiastic manner
Complied with company policies and worked to ensure a safe and happy environment
Deliver an excellent shopping experience by resolving all customers
complaints
Trained and coordinated new team members
Intern Architect
●Property Renovation Program
Small scale project (September 2021-August 2022) 11 month
2013-2017 Islamic Azad University Science and Research Branch
Biomedical Engineering
2018 University of Huddersfield
Creative Art Foundation
2018-2021 University For The Creative Art
BA (Hons) Architecture
Worked on the renovation of residential project
Participated in all phases of architecture design and interior design and construction process
Performed site visits and produced details architectural drawings. Provided digital drawing and layouts and assisted the client throughout the project
●BIM
October 2022-February 2023
5-month internship pro-gramme which includes preparation of Revit drawing for BIM submissions.
Rhino Course Unreal Engine 3ds Max
Autodesk Revit
Autocad Corona Lumion
Persian(Mother Tongue)
●Landscape Design
Dec 2022– April 2023
Planned and designed land areas for residential villa
Create and implement landscape design based on location, requirements specification and budget
Coordinated with engineers and constructors
●Boutique in Tehran
Feb 2023– Peresent
Involved in process of interior design and Assistant with the production of interior design ideas
Developed design concept and digital models
Produced conceptual digital rendering for project
Project 06
Abstract
The Art On Prescription is a project located in Swan Warf ,Fish sland, London.The project aims to create a community mental health center for swan Wharf and the sorrounding area.The idea is to improve mental wellbeing through elemnts of art, nature and water.The existing structure includes three main part in terms of art center, therapy center and series of gardens .The project is intend to be an art therapy center in which patient can benefit from the healing power of art and nature ,improve their ability and increasing social engagment. The purpose is to work with NHS and implementing art based therapys into GP referral pathways.The program act as an addition to help people in their recavery through creativity . In addition, the center provides education department to becoming an art therapist while empowering local artist to take back control over employment heat and economy from covid-19.
Covid-19
Public health surveillance during and after this pandemic must include plans for mental health surveillance to allow for an adequate response to the anticipated mental health
Mental Health
Around 1-in-7 people globally (11-18 percent) have one or more mental or substance use disorders. Globally, this means around one billion people in 2017 experienced one. The largest number of people had an anxiety disorder, estimated at around 4 percent of the population.
Along with the tourism sector, Creative Industries (CIs) are among the most affected by the current Covid-19 crisis. Creative workers, one of the more vulnerable sectors of the workforce, are already seeing devastating impacts on their income, not only in turnover terms, but also in their charitable contributions and
People who have been suffering from mental health conditions generally lose all sight of who they are. The final stage of recovery involves rediscovering what is important to you in your life and reengaging with the activities and people who enrich your life experience.
Mental illnesses are generally relapsing conditions which people need to learn to cope with in recovery. It is vital that you understand that you will have bad days as well as good days but you will be better equipped to deal with negative feelings over time and after specialist treatment.
Promotes Stress Relief Expands Creative Growth Bolsters Memory Enhances Problem-Solving and Motor Skills Cultivates Emotional Growth Stimulates an Optimistic Attitude
Many mental illnesses are associated with low self-esteem and so it makes sense to rebuild confidence levels as part of your recovery.
Overcoming mental illness is a significant achievement which in itself warrants self-congratulation.
During recovery it is always a good idea to set goals and objectives that provide you with measurable progress. This adds incentive and motivation to your recovery strategy. Say for example you know it makes you feel worse when you stay up late, make a point of turning into bed earlier.
Much of the work done in overcoming mental illness is based on improved understanding and insight of your condition which is gained during treatment. Once you have a clear understanding of the warning signs of your illness, you can learn how to cope more effectively with any episodes
When a person has a mental health problem, the most common barrier to them receiving treatment is denial. Where denial prevents healing, acceptance has the opposite effect of encouraging it. It is therefore crucial that you have achieved a level of acceptance before embarking on your
It has been generally accepted that both listening to and creating music can have various positive effects on mood and mental health. elevate your mood and motivation aid relaxation increase the efficiency of brain processing.
Multiple studies have confirmed the many mental and physical benefits of yoga. Incorporating it into your routine can help enhance your health, increase strength and flexibility and reduce symptoms of stress, depression and anxiety
Photography can have a positive effect on your well-being, boosting self-esteem, confidence, memory, and decision making. It helps you focus and calm the mind from the everyday hustle .
Reduce depression, anxiety and stress-related symptoms. Alleviate the symptoms of dementia, such as aggressive behaviour. Increase the ability to concentrate and engage. Reduce reliance on medication, self-harming behaviour.
ETFE is proposed material for inflatable roofing. Being 100% recyclable and having a minimal carbon footprint in terms of transportation and installation, the material is highly sustainable and offers flexible and dynamic building forms.
Fish Island is a unique centre for creativity and arts, collaboration and culture. Combining artist studios, woodworking and metalworking workshops, tech offices, gallery & exhibition spaces, event space, collaborative areas and a stunning canal side bar.The location of swan Wharf provided an opportunity to benefits from broad selection of environmental, cultural and social factors.Exposure to the river LEA and Old Ford Lock provide an opportunity for view. As industry moved out of Fish Island, the artists moved in. The artist sestablished in Hackney Wick since the 19980s.In the 90s it had the highest density of artists’ studios in Europe. Out of the 750 studios. After artists began to be priced out of Fish Island, a partnership was set up in 2014 between tech hub, The Trampery, and the Barbican Centre, called Fish Island Labs. The project allows for between 40 and 50 people to share low-cost workspace for ten months. Slowly, warehouses turned from factories to studios to living space. Hackney Wick and Fish Island Creative Quarter, home to nearly 250 artist studios and more than 100 creative businesses, was awarded a £50,000 grant from the Mayor of London in order to help make it a Creative Enterprise Zone.
Art Studios surrounding the location
Hackney Wick has an unusually high density of studio-based fine artists and designer makers that have re-purposed vacant industrial buildings.
Artist studios have been established in Hackney wick since the 1980s and their increased in recent years is a consequence of the loss of former post-industrial buildings on the Olympic site, with artist moving to Hackney Wick because of availability of space and low rents.
Abadeh
Afshar
Ardebil
Bakhtiar
Beluch
Bidjar
Gabbeh
Ghashghai
Heriz
Isfahan
Kerman
Klardasht
Koliai
Moud
Nahavand
Nain
Senneh
CITIES
Shah Abbasi
Afshan Pattern
Ashayeri Patterns
Moharamat
Fishes
Shekargahi
Geometric Design
Floral Design
Trees
Eslimi
Botte Jegheh
Torkaman
Mehrabi Pattern
Flut
Contemporary Design
Adapted Design
Many centuries ago nomadic people began producing carpets for daily use. Inside their tents they used them as blankets, wall decorations or on the floor for seating purposes. Carpet knotting is taking root in pre-Christian era of the Orient. In the following periods carpets, being status symbols, were knotted by hand in almost all countries of the ancient world. It was in the Middle Ages, where these valuable carpets found their way into Europe - more precisely, into the houses of rich tradesmen or into palaces of great rulers. Still today, oriental carpets and especially Persian carpets are a precious commodity worth its price.
Generally, the attraction of a carpet returns to the yarn specification, knot technique, weaving density, type of material, design and pattern, color harmony, and the expertise of the weavers. In fact, the urban carpets are completely different from the rural carpets because of the weaver’s mentality. It is concluded that the carpets of each region in accordance with the cultural and artistic conditions lead to unique characteristics that distinguish them from each other.
Seneh
Seneh
Kashan
Bakhtiyari
ne designs and elegant patterns. The colours are usually dark blue and reds. In Senneh they weave both rugs with a pile, as well as Senneh Kilims atweaves). Their design is recognisable and unique.
ne designs and elegant patterns. The colours are usually dark blue and reds. In Senneh they weave both rugs with a pile, as well as Senneh Kilims atweaves). Their design is recognisable and unique.
The designs usually involve some repeat pattern, or diaper, such as the herāti, in which a diamond lattice pattern peeps through a tangle of blossoms and leaves or through intricate versions of the boteh, a leaf with curling tip. The colours are usually dark blue and reds. In Senneh they weave both rugs with a pile, as well as Senneh Kilims (flatweaves).
Qum is a city most well known for their weaving of fine pure silk rugs. They are probably the highest in knot count and you will never see detail finer than you do in these Persian rugs. screen! The patterns are borrowed from different areas across Iran, but generally feature gardens, medallions, plant and animal motifs.
Qum is a city most well known for their weaving of ne pure silk rugs. They are probably the highest in knot count and you will never see detail ner than you do in these Persian rugs. screen! The patterns are borrowed from di erent areas across Iran, but generally feature gardens, medallions, plant and animal motifs.
Qum is a city most well known for their weaving of ne pure silk rugs. They are probably the highest in knot count and you will never see detail ner than you do in these Persian rugs. screen! patterns are borrowed from di erent areas across Iran, but generally feature gardens, medallions, plant and animal motifs.
Floral in design, with reds and navy blues. The other popular Kashan colours are creams and pistachio green. They come both with central medallions and all-over designs (no medallion).
Floral in design, with reds and navy blues. The other popular Kashan colours are creams and pistachio green. They come both with central medallions and all-over designs (no medallion).
Floral in design, with reds and navy blues. The other popular Kashan colours are creams and pistachio green. They come both with central medallions and all-over designs (no medallion).
Hamedan
Hamadan rugs are fairly easily recognisable by their use of repeated patterns. They are mostly geometric, but so sometimes use oral designs. They are usually deeper in colour palettes and feature reds, navy, and some bits of cream.
Hamadan rugs are fairly easily recognisable by their use of repeated patterns. They are mostly geometric, but so sometimes use oral designs. They are usually deeper in colour palettes and feature reds, navy, and some bits of cream.
Hamadan rugs are fairly easily recognisable by their use of repeated patterns. They are mostly geometric, but so sometimes use floral designs. They are usually deeper in colour palettes and feature reds, navy, and some bits of cream.
The old Bakhtiyar designs are usually designed with the Khesti, which is the garden motif. However, many simply contain animals and plants that are symbolic of the Persian garden.
The old Bakhtiyar designs are usually designed with the Khesti, which is the garden motif. However, many simply contain animals and plants that are symbolic of the Persian garden.
Known to be one of the most durable of all Persian rugs due to the wool from that particular area being thick and fairy solid.
Known to be one of the most durable of all Persian rugs due to the wool from that particular area being thick and fairy solid.
The old Bakhtiyar designs are usually designed with the Khesti, which is the garden motif. However, many simply contain animals and plants that are symbolic of the Persian garden.Known to be one of the most durable of all Persian rugs due to the wool from that particular area being thick and fairy solid.
Nain rugs are mostly floral in design. The use a wonderful colour palette of ivory, navy blues, light blues and pinks. Sometimes you will see green and red, but not as often. Nain rugs come in a variation of different qualities. You do have standard ‘Nains’ that are usually weaved just outside of the city, but following the known Nain designs.
Nain rugs are mostly oral in design. The use a wonderful colour palette of ivory, navy blues, light blues and pinks. Sometimes you will see green and red, but not as often. Nain rugs come in a variation of di erent qualities. You do have standard 'Nains' that are usually weaved just outside of the city, but following the known Nain designs. As for the higher quality, and those weaved in the city itself, Nain rugs have three-knot types: 4La, 6La, and 9La. These have been the most popular style of high quality Persian rug in the UK over the past couple of years and today. Most likely because use the most neutral/ light/ subtle colours.
Nain rugs are mostly oral in design. The use a wonderful colour palette of ivory, navy blues, light blues and pinks. Sometimes you will see green and red, but not as often. Nain rugs come in a variation of di erent qualities. You do have standard 'Nains' that are usually weaved just outside of the city, but following the known Nain designs. As for the higher quality, and those weaved in the city itself, Nain rugs have three-knot types: 4La, 6La, and 9La. These have been the most popular style of high quality Persian rug in the UK over the past couple of years and today. Most likely because use the most neutral/ light/ subtle colours.
The Heriz design is fairly recognisable. More so than other Persian rug designs. The centre features a large right-angled medallion, and usually has marked corners. They are really geometric in design. It's quite hard to nd Heriz rugs in small sizes, usually the start at 300x200cm.
The Heriz design is fairly recognisable. More so than other Persian rug designs. The centre features a large right-angled medallion, and usually has marked corners. They are really geometric in design. It's quite hard to nd Heriz rugs in small sizes, usually the start at 300x200cm.
The Heriz design is fairly recognisable. More so than other Persian rug designs. The centre features a large right-angled medallion, and usually has marked corners. They are really geometric in design. It’s quite hard to find Heriz rugs in small sizes, usually the start at 300x200cm.
Usually Tabriz designs have a central medallion that is surrounded by arabesques, and other oral & garden inspired patterns (cypresses and weeping willows). The most famous Tabriz design (as above) is known as 'Tabriz Mahi'. The design is based on a famous Persian garden that is divided into four sections by a stream. In the stream are many sh. The word 'Mahi' in Farsi is 'Fish'.
Tabriz designs have a central medallion that is surrounded by arabesques, and other floral & garden inspired patterns (cypresses and weeping willows). The most famous Tabriz design is known as ‘Tabriz Mahi’. The design is based on a famous Persian garden that is divided into four sections by a stream. In the stream are many fish. The word ‘Mahi’ in Farsi is ‘Fish’.
Usually Tabriz designs have a central medallion that is surrounded by arabesques, and other oral & garden inspired patterns (cypresses and weeping willows). The most famous Tabriz design (as above) is known as 'Tabriz Mahi'. The design is based on a famous Persian garden that is divided into four sections by a stream. In the stream are many sh. The word 'Mahi' in Farsi is 'Fish'.
There is a variety of motifs and patterns on oriental carpets. Traditional patterns are such as ornaments or floral and geometric designs, knotted all-over and surrounded by beautiful borders. Classic midfield-medallions are popular, too. There is an endless abundance of patterns and colours, that are decorating oriental carpets. The knotters only have one limit: their imagination. Some of the most popular patterns are the Herati pattern - a diamond surrounding a rosette - and the Boteh pattern, which looks like a swung almond. The whole colour spectrum finds itself on oriental carpets. Red, blue and beige shades are the most traditional ones. Real carpets from the orient are costly coloured with natural dyes. Synthetic colours can be found on cheaper pieces, but they have a lower colour depth. Thus, original Persian carpets aren’t just of high durability, but also have an amazing colour depth.
Qum Heriz Nayin Tabriz Kashan Bakhtiyari Qum Hamedan Heriz NayinTA traditional yurt (from the Turkic languages) or ger (Mongolian) is a portable, round tent covered with skins or felt and used as a dwelling by several distinct nomadic groups in the steppes of Central Asia. The structure consists of an angled assembly or latticework of wood or bamboo for walls, a door frame, ribs (poles, rafters), and a wheel (crown, compression ring) possibly steam-bent. The roof structure is often self-supporting, but large yurts may have interior posts supporting the crown.
Comb
This kind of comb is made entirely of metal, is used in ner and more closely tied carpets, for example Isfahan and Nain.
Comb
usually made of wood and metal. It is used to pack together the knots and the weft in the rows after every row in the carpet has been tied. The comb is beaten up and down along the warp in
Knife with a hook
In reality this knife has two functions. It is partly used to hook onto the yarn between the warp threads with the small hook and also to cut the yarn afterwards.
Brush
specially made in metal. It is used for cutting the pile on the carpet after one or more rows have been tied.
A very simple tool consisting of small metalspikes attached to a soft bedding. It is used to brush the wool and the threads when repairing and when manufacturing the carpet.
Craft:Hand made Carpet
Spin Cotton
Own manufactories like those of Tabriz have played an important historical role in reviving the tradition of carpet weaving after periods of decline. Rugs woven by the villages and various tribes of Iran are distinguished by their ne wool, bright and elaborate colours, and speci c, traditional patterns.Tabriz has probably the longest and richest heritage of rug weaving. Therefore, authentic Persian rugs coming from this weaving center are among the greatest and most diverse in the world. The history of carpet manufacturing in Tabriz reaches back to the 16th century when the region was under the rule of the Safavid dynasty.
Tabriz carpets are hard to set apart from other oriental rugs in terms of designs, motifs, and colorations. Why? During its long existence, Tabriz absorbed in uences from practically all Persian weaving centers as well as other cultures and countries.
Dye Yarn
The repertoire of Tabriz rug designs is abundant – it consists of medallions, all-over classic motifs, like boteh or Göz, oral and foliage-themed patterns, rectilinear forms as well as curvilinear, scrolling designs. Nonetheless, there is something that may help you recognize a rug from Tabriz. It is the astounding quality measured in units of knot density, also known as “raj”. In an average Persian rug from Tabriz, knot density revolves around 110 raj. Beautiful Persian rugs from Tabriz will be a stunning addition to any décor, introducing not only artistic and utilitarian value but also a rich historical layer.• It was in the Middle Ages, where these valuable carpets found their way into Europe more precisely, into the houses of rich tradesmen or into palaces of great rulers.
Mount Warp on the Loom
Weaving on Loom
Heriz rugs from northwest Persia are regional cousins with Serapi rugs and Bakshaish rugs. Quality, saturated color palettes as well as strong, geometric designs are attributes of Heriz rugs. The distinct style of Heriz rugs builds upon classic schemes including splendid ower-head medallions, corner spandrels and multiple borders with angular vinery. Botanical and oral patterns, as well as bold palmettes, may also appear. Motifs are geometric but they preserve refreshing simplicity of the line.
Knotting
Cutting into tufts
Although Persian rugs from Heriz come from sophisticated city workshops, they still maintain a rm tribal quality. One may encounter Heriz carpets with allover designs of willow trees or ascending shield palmettes, which makes them resemble small antique Kazakh rugs made by the Caucasian villagers in the north. However, creations from Heriz have a decisively larger format.
Heriz rugs are solid and dependable thanks to large knots and a special kind of wool. Sheep living in the Heriz area drink water with traces of copper, which makes their eece stronger and gives it a unique patina-like glow. The color palette of Heriz carpets is immense. It includes jewel tones of cherry red, navy blue, and sa ron yellow, pale terracotta, seafoam, powder blue, and ivory, among others.
Finishing Ends and Sides
Shear rug
Beating Drying
Chemical washed
Boutique house is a proposal for the construction of a new house on city site in Canterbury for a group of young professional fashion designer who graduated from UCA and Kent university. In functional terms,the houses divide into three planes. Ground floor designed as semi privative space while residents having their private life they have the view of central studio. The first floor consists of shops and central courtyard which designed as a public space and continuity to the garden and shops area will be through arcade from street. On the upper floor which is more private space ,the bedrooms overlooking the lower floor thorough a double height space.
Geometry constitutes a graphic description of the universe.Generates a meaning to public as a garden to reflect the”sacred geometry” as a public space with cultural and architectural treasure. It propose the natural garden influenced by ancient Greece architecture, and includes inhabitable community spaces for socializing.
The design is compound of other times and other places. Th design explores the idea of a creating a space that encourages visitors to enjoy the ever-changing relationship between the sun and the perforated roof and between sea, nature and inner space. It is in the link between the past and the future that the proposal comes to being: designing a garden in line with time to come, open our eyes from the patterns of the past that surround and summon it. The garden ofA large fluid canopy is set at the center of the garden, allowing the extension of natural elements from the park into the space. It is an exterior- interior where invites community to a different space and connect to one another and their surroundings. This public space will bring together nature, light, geometries and people together .
Geometry is the knowledge of eternity Existant. Geometric figures used to describe the beginning of creation to show how an absolute unity can become multiplicity and diversity. Geometry attempts to recapture the orderly movement from an infinite formlessness to an endless interconnected array of forms and in recreating this mysterious passage from one to two it renders it symbolically visible. From both the metaphysical and natural points of view it is false to say that in order to arrive at two you take two ones and put them together. One only need look at the way in which a living cell becomes two. For one by definition is singular it is unity therefore all inclusive. There cannot be two ones. Unity as the perfect symbol of god divides itself thus creating two: the self and the me of god so to speak; the creator unity and the created multiplicity. Unity can be appropriately represented as a circle, but the very incommensu-rability of the circle indicates that this figure belongs to a level of symbols beyond reasoning and measure. Unity can be restated as the square which with its perfect symmetry also represents wholeness and yields to comprehensible measure. In geometrical philosophy the circle is the symbol of unmanifest unity while the square represents unity poised as it were for manifestation. The square represents the four primary orientations north, south, east and west which make space comprehensible and it is formed by two pairs of perfectly equal yet oppositional linear elements thus graphically fulfilling the description of universal nature found in Taoist and other ancient philosophies.
BA community has existed by the Thames at Woolwich (pronounced ‘woolitch’ or ‘woolidge’) since at least the Iron Age, and the Romans built a fort here. The Old English place name probably means ‘trading place for wool’, but no evidence has been found of a wool market.Dig under Riverside Park, near the Royal Arsenal, and you would unearth the remains of a Roman fort, and traces of an Iron Age settlement. The Anglo Saxon place name ‘Woolwich’ alludes to a trading settlement or port used for wool, which may have come from sheep raised on the marshes of Plumstead. The site was occupied in ancient times; there is evidence of a Roman cemetery, and the place-name Uuluuich, from which Woolwich is derived, appears in legal records from 918 CE. Early in the 16th century Woolwich rose to prominence as a dockyard and naval station. The site is extremely rich in culture and the community respects Greenwich councils approach to provide new uses of existing historical buildings. Woolwich grew due to its military position and location on the estuary, giving it outstanding potential to thrive within this era. The docks provided great economical opportunity which led to great development of the borough.
The pavilion Positioned on the north Woolwich at the edge of the Thames river with direct proximity to royal Victoria garden. The canopy occupied the center of the site. The Ground floor plan represent how different patterns overlay to create the archive. The design’s endpoints blur the line between it and the garden by offering inside out spaces as gathering areas.
The courtyard opens to the sky and invite the green landscape inside, while the stairs literally flows through the space, blurring the line between outside and inside.
The pavilion’s floating roof is designed as a steel structure that acts as a supporting framework. While the interior of this structure is clad with white concrete slabs , the supports remain invisible in the shape of columns inside the structure.. These are hidden within the building structure to give the impression that the roof is floating. The roof will cover the area of 750 meters and is visible from the Thames river, the surrounding areas and Victorian garden. The highest point of the roof is 4.6 meters above ground floor level. The project aims to using the geometric patterns to make a parametric form whilst interplaying with light and shadow.
The canopy consists of two different layers clad in stainless steel and jointed by a steel frame. The top and undersides of the roof are each covered with two layers of stainless steel profiles of various sizes which form grid structures with geometric patterns. Steel lattice roof with hallow allowing lots of natural light into the space and creates more contrast in light and shadows .
In final step of project and creating dermal interface 3D physical model I exploded the digital model to diffrent componants of model to make a metal structure. This is the first step of model making for better undrestanding of scale and roof shape.The goal was to create a model that can reflect the light throgh the sturucture and discover how the light can pass and comed to the surface.
The model came to demonstrate the structural, architectural, visual qualities of the roof form, amongst other features, creating interesting light and shadows effects.
The project is a renovation of a 55-year old existing 3 story house including one basement and 2 living floors, located in north of Tehran at the end of a dead-end alley, with the access to main street.The client tends to renovate the house to a modern house to meet the needs of his family. The main concept of design was preserving the natural character of the house and creating enough private space for the residents, to fulfill the demand of family new life style.It turned out to be a whole renovation project including structural and mechanical system repairs and extending by adding the third floor as a private flat.The ground floor features the main apartment, the living room and an additional separate room, and the first floor includes bedrooms. Worth noting that the ground floor as well is separately connected to the open-air space.As a part of the architecture team I was responsible to create a package of detailed renovation drawings and renders to present to the client and architecture team. I was working closely with engineers and designers through the project and attending the meetings.
I had the opportunity to took the role to design the main kitchen of the project base on client requirements and creating the renders to communicate with them. The kitchen become the project core feature.
Proffesional Work
Personal Project
The project was about Planning and designing land areas for residential villa. My role in this project was to Create and implement landscape design based on location, requirements, specification and budget. As a lead designer, I designed the concept of courtyard and roof garden development, creating renders and design drawings for the client . I was involved in all stage of project from design to completion. Regular site visit and Coordinated with engineers and constructors improved my architectural knoledge and ability.
