Portfolio - Nima Shariat Zamanpour by Nima Shariat

Nima Shariat Zamanpour M. Arch I 2022 Harvard GSD

CONTENTS

Harvard GSD As Above, So Below Anamorphic Brick Sugarland’s Highway Confederate Collective Housing Liberated Design School Calligraphic Space Disrupted Tangents Paper Clay Lamination Paul Revere Fragment

Continuity of Community Multicultural Center Visitor Center Museum/Data Center Housing School Spatial Bay Exercise Hidden Room Robotic Fabrication Construction Systems

3 - 11 12 - 15 16 - 20 21 - 24 25 - 30 31 - 36 37 - 38 39 - 40 41 42

William Rawn Associates NBBJ - Boston

Summer Internship Summer Internship

43 44 - 45

Work

Previous Work Nima’s Cylinder Haft-Seen Mixed Medium Rumi’s Lamp

Bronze Sculpture Furniture Joinery Lamp

46 47 48 48

AS ABOVE, SO BELOW A Potemkin Urbanism Advisor: Andrew Witt Thesis Site: Ertebat Shar, Fort Irwin, CA Date: Spring 2022

The distance between reality and the real, should any ‘real’ exist, has been growing. Spurred by the mainstreaming of post-truth, of fake news and disinformation in politics, and simulation theories bastardized from Baudrillard in tech circles, the gap often has a negative connotation. This thesis explores that gap from the real, through the concept of the Potemkin, as a productive space for examining normalized behaviors, social orders, and cultural aesthetics in the contemporary United States. The external Potemkin consists of artificial facades, projecting a false set of information to outsiders, to project economic success, or to conceal the program from the outside. For an internal Potemkin, examples like Oak Ridge, TN recreate a city, with social order and cultural rituals, under systems of control that conceal the purpose of the city to the inhabitants themselves. This thesis explores a third system, one that mixes the projective quality of the external Potemkin, and the insular concealment of an internal Potemkin for a ‘Potemkin Urbanism.’ The project’s program is a simulation of domestic life, civic systems, and cultural tradition in the American West. The program is housing a 250-person subterranean community with amenities and infrastructure to sustain said community. The site for thesis is the simulated Afghani/Iraqi village of Ertebat Shar on the military base Fort Irwin, CA. Fort Irwin resides in the intense climate region of the Mojave Desert, giving the project a rigorous foundation for the systems of living explored. The thesis redirects the gaze of Ertebat Shar from the foreign target to the domestic community, looking for sincerity at the depths of simulation.

AS ABOVE, SO BELOW

NIMA SHARIAT ZAMANPOUR

wind

transformer

With it’s programmatic intensity in both scale and climatic region, research of similar projects took the form of a two week road trip to other locations ranging from Biosphere 2, a retired Continuity of Government Bunker, a private single family survival bunker in Las Vegas, and the anarchic desert commune of Slab City. This research culminated in a program distribution for the 250-person community as well as a breakdown of its infrastructural needs.

exhaust

PV intake NBC filtration

MRE

battery antenna

PROGRAM compost

conditioning

aquaponics cistern rainwater catchment

filtration

sewage

fake rocks conceal ventilation in the ‘Tundra’ portion of Biosphere 2

AS ABOVE, SO BELOW

a sketch done by memory of the layout of Greenbrier Bunker (photo and paper was not allowed when in the Bunker)

purposefully ugly wallpaper was chosen to hide in plane sight the nuclear blast doors of the Continuity of Government site.

NIMA SHARIAT ZAMANPOUR

As access to the base is restricted, site research was contained to satellite views, with careful analysis of the fake city’s urban conditions revealing the original intersection in Baghdad, Iraq. This view from above, becomes the primary vantage of the project,with callibration targets and the resolution of the camera becoming primary formal drivers for the organization of site.

LZ market

market

comm

command & control

comm

mosque

mosque compound gift shop

transformer

range

mosque

Ertebat Shar primary structures

AS ABOVE, SO BELOW

Discovered original in Iraq

Palimpsest of the original and simulated urban fabrics

NIMA SHARIAT ZAMANPOUR

To conceal the infrastructure and obfuscate the program below, methods of aerial camouflage are deployed building on historic methods with the intent and metric of breaking down machine vision through anamorphic forms, fake shadows, pattern misalignments and false facades.

I. AGRICULTURE WAREHOUSE

terraced agricultural structures enclosed in warehouse for use upon resurfacing

AS ABOVE, SO BELOW

II. SUBURBS

shear walls brought down from existing facades to form structure of below homes

III. MAIN ST.

anamorphic joining with tunnel system to accentuate space

IV. ACCESS

base of some towers offer access points

V. TUNNEL

extra storage and aquaponic facilities at tunnel intersections

VI. 5 over 1

husks of multifamily constructions house systems infrastructures and modular shoothouse units

NIMA SHARIAT ZAMANPOUR

+0m

+5m

+10m

+15m

+20m

D03

130m

D04

+10m

01 +7.5m

C04

C03

+7.5m

43m

+2.5m

B02 +2.5m

B03

A01

D02

+10m

+0m

170m

A02

+7.5m

A06 A07

A03

C02

+7.5m

A08 C05

A04

A09

A05

04 A10 A11

A14 A15 A16

A12 A17 A13

+0m

A18

B01

55m

+2.5m

B04

A19

D05

A20 A21

+10m

A22

+0m

+7.5m

C01

+7.5m

C06

145m

+10m

+0m

+5m

+10m

130m

+15m

D01

+20m

170m

55m

D06

145m

master plan for build

master plan for residents

BELOW - DOC AS ABOVE, SO BELOW

NIMA SHARIAT ZAMANPOUR

ABOVE-GROUND

35°20’57.9”N 116°35’39.2”W

ERTEBAT SHAR (‘THE BOX’) NATIONAL TRAINING CENTER

AZIMUTH 30 ORIENTATION 45

0.5 SAT RESOLUTION PHASE V SIMULATION

master plan for camo

AS ABOVE, SO BELOW

master plan for training

NIMA SHARIAT ZAMANPOUR

patents

AS ABOVE, SO BELOW

NIMA SHARIAT ZAMANPOUR

views of the paired cities

AS ABOVE, SO BELOW

NIMA SHARIAT ZAMANPOUR

AS ABOVE SO BELOW AS ABOVE, SO BELOW

NIMA SHARIAT ZAMANPOUR

ANAMORPHIC BRICK

Critic: Mark Lee & Hanif Kara Studio: The American Brick in Arcadia Site: Rice University, Houston, TX Date: Spring 2021

This studio investigated how a material, specifically the brick, could be an impetus for tectonic and formal expressions in the design of a Multicultural Center on the Rice Campus in Houston. This project focuses on the use of anamorphic moves in generating public space and relating to the adjacent buildings of the Arcadian Campus. The pushes and pulls of the building’s exterior are reflected by an attenuation of the central atrium, spatially holding the public and giving collaboration spaces on the floors above. These distortions are rendered by the brick as a roughness, as the immutable brick is offset into corbels to accommodate for the oblique surfaces.

ANAMORPHIC BRICK

NIMA SHARIAT ZAMANPOUR

The building pulls away from the Turrell sculpture to the north, while leaning towards the quad entry. The pushes and pulls of the building’s exterior are reflected by an attenuation of the central atrium, spatially holding the public and giving collaboration spaces on the floors above.

ANAMORPHIC BRICK

SECTION

PLAN 3

105

PLAN 2

105

PLAN 1

105

NIMA SHARIAT ZAMANPOUR

the slab and lintels are supported by a steel frame that goes between piers

1/8"

1/4"

1/8"

1/4"

FLUSH JOINT

weather joints enhance the roughness generated by the brick offset

FLUSH JOINT

1/8"

WEATHER JOINT

WEATHER JOINT 1/4"

.7 1° 86

1°

FLUSH JOINT

WEATHER JOINT

PIER PIER

LINTEL LINTEL

5' 0'

ANAMORPHIC BRICK

NIMA SHARIAT ZAMANPOUR

ANAMORPHIC BRICK

NIMA SHARIAT ZAMANPOUR

SUGARLANDS VISITOR CENTER Summer Solstice Sunset

M ail Tr To

Winter Solstice Sunrise

te ain nce

AXON

Critic: Jeanne Gang & Claire Cahan Studio: Can Parkitecture Heal? Site: Great Smokey Mountain National Park Date: Fall 2020 (half-semester)

Tree Class Roof Plan

Axon

Tree Classroom

1/8" = 1'

Fire Pavilion / Skyhenge

Partner: Jack Rodat HOPEFULLY KEEP ELEVATION AT 1IN OFFSET 2X DISTANCE FROM CONTENT EXTENTS

Under the larger Green New Deal superstudio, this project focuses on a new Sugarlands Visitor Center for the Great Smokey Mountains National Park. The proposition is a set of distributed interventions, which seek to expand the narrative of the park, while achieving a set of commons goals:

Classroom & Library

EXTENT OF CONTENT IN DRAWING (RE SYMBOL OFFSET

Classroom & Demo C

First Floor Plan 1/16" = 1'

Demonstration Section East 1/4" = 1'

Tree Class Section

Exercise 3a

Exercise 2a

Demonstration Area Section

Pavillion Classroom Plan 1/4" = 1'

Demonstration Plan 1/4" = 1'

Classroom Plan 1/4" = 1'

1. Encouraging a more inclusive access to the park, 2. Raising attention to the environment through sustainable building practices, 3. Encouraging a novel and more thorough experience with the land. Just as the Green New Deal tethers social, political, and environmental issues of together, this project uses a similar multifaceted approach is that is essential in the success of any one goal individually. Each intervention takes a role in expandingAXON the narrative of the park by highlighting an observed contradiction. An entry pavilion contrasts what goes in with what goes out of compost and signage. A classroom amongst the trees features both experiential and tacit knowledge. A view pavilion equipped with twin hearths, brings together “traditional” park recreational activity, hiking, with a novel one, playing basketball. The interventions themselves are constructed using sustainable and low impact materials and constructions remain open to the environment wherever the program allows. As park visitors travel between them, they will be fully immersed in the park’s greatest asset, the nature itself, avoiding the pitfall of visits currently that merely stop by the gift shop. Finally, this decentralized plan can be incrementally developed, accommodating the parks historic funding challenges. It also enables more nodes to be added as organizational need and additional narratives arise.

Exercise 2b

The Hub

Demonstration Area Plan 1/4" = 1'

Exercise 3b

Exercise 1b

Entry

Exercise 1a

NE Isometric 1/16" = 1'

Maker Space

Basketball & Gear

Site Plan 1" = 200'

SE Isometric 1/16" = 1'

Basketball Court / Gear House

Section 1/8" = 1'

SUGARLANDS VISITOR CENTER Section 1/8" = 1'

NIMA SHARIAT ZAMANPOUR

RIVER LIBRARY & CLASSROOM TACIT/EXPLICIT LEARNING

An example of the foundation assembly. Used in the river classroom to minimize impact upon the creek these foundations remind visitors of the artificial and temporary reality of the park infrastructure. Throughout, we leave the construction techniques highly visible with exposed framing and structures elevated on piers such as these.

SUGARLANDS VISITOR CENTER

NIMA SHARIAT ZAMANPOUR

Elevation East

1/8" = 1'

Plan Ground 1/8" = 1'

1/8" = 1'

Gabion library walls offer porosity to allow the river to freely flow underneath the library, offering a passive method of cooling utilized in American spring houses.

Steel gridded mesh floor gives views of the river below in the classroom area.

Plan 1

PLAN 01 Plan First

GROUND PLAN 1/8" = 1' Plan Ground 1/8" = 1'

0’

4’

12’

30’

1/8" = 1'

Plan First 1/8" = 1'

SUGARLANDS VISITOR CENTER

Roof Plan

SECTION River Class Section

1/8" = 1'

0’

2’

6’

12’

Plan Roof 1/8" = 1'

NIMA SHARIAT ZAMANPOUR

FIRE PAVILION HENGE HUMAN/CELESTIAL GATHERING

Summer Solstice Sunrise

Summer Solstice Sunset

Winter Solstice Sunrise

Winter Solstice Sunset

SUMMER SOLSTICE

Summer Solstice 3/16" = 1'

Winter Solstice Sunset

WINTER SOLSTICE

Fire Pavilion / Skyhenge

Winter Solstice (Roof Hidden) 3/16" = 1'

er Solstice nrise

Small

WHAT REMAINS...

SUGARLANDS VISITOR CENTER

19 What Remains 3/16" = 1'

NIMA SHARIAT ZAMANPOUR

SUMMER SOLSTICE

SUGARLANDS VISITOR CENTER

WINTER SOLSTICE

NIMA SHARIAT ZAMANPOUR

HIGHWAY CONFEDERATE

Critic: Preston Scott Cohen Studio:Cancel Architecture Site: Nashville, TN Date: Fall 2020 (half-semester)

This option studio looked the power of architecture to negate, symbolically and spatially on Confederate monuments in the United States. I chose the Nathan Bedford Forrest statue, in Nashville Tennessee, and sculpted by League of the South founder David Kershaw. The monument is alongside the I-65 highway, dominating views of the captive audience of daily commuters, with Tennessee House Bill 2255 exempting the statue from commercial billboard regulations. Its particularly ugly design has elicited calls for it to remain standing instead, so the proposition takes the form of a selective framing of the monument rather than full covering. The building takes the form of an infrastructural sound barrier. The barrier is articulated to present an anamorphic projected media to either side of the highway, opening at two points to grant framed views of the monument. The barrier is thickened to accommodate the program of a museum on the Green Book and a server farm to house neo-green book databases such as the SPLC hate map. The addition of these programs deregulates the wall under the same statute that currently protects the monument, liberating it to counter and contend with racism on the mediated landscape these monuments operate in.

HIGHWAY CONFEDERATE

NIMA SHARIAT ZAMANPOUR

450

210

I-65 NB I-65 SB

STATU

SERVER FARM

HIGHWAY CONFEDERATE

MUSEUM

22 22

120

280

ENTRANCE

NIMA SHARIAT ZAMANPOUR

I. The diagram of the project blocks the view of the monument with program, allowing for two specific views: a framing from the northbound amongst the lenticular signage, and a glance from the southbound through the museum.

II. The crenulation of the wall operates at a smaller scale for the server blocks, giving a lenticular surface facing the southbound, hiding the vents for the heat-intensive servers.

II.

HIGHWAY CONFEDERATE

NIMA SHARIAT ZAMANPOUR

HIGHWAY CONFEDERATE

NIMA SHARIAT ZAMANPOUR

COLLECTIVE CONSENT

Critic: Ron Witte Studio: Core 4 | Relate Site: Roxbury, MA Date: Spring 2020 Partner: Rachel Coulomb

The fourth and final semester of core consists of a multi-family housing project in the Roxbury neighborhood of Greater Boston. We see this proposition as an extension to Robin Evans’ 1978 essay “Figures, Doors, and Passages”. For him, elements of the plan selectively divide and reunite social interactions. Doors recast daily patterns of life, corridors facilitate and reduce contact. Ultimately, the architecture is the evidence of everyday conduct. Thus we present “Figures, Doors, Passages... and Consent.” Adding consent means adding negotiation. Consent operates using doors, windows, walls, elements we already use as tools in our field. But we must shift our focus to their weight in designing an exchange between individuals. One that ensures all parties agree upon the act of collection, ownership and access to one another. Our proposal for a housing development located along Jamaica Plain’s Green Street Transit Station defines a new set of conditions regarding consent in domestic and public spaces. The project is developed through architectural interpretations of existing legal definitions of consent in order to reread them through the design. Unanimous Consent Informed Consent Implied Consent: Expressed Consent This project proposes a new method of defining architecture and stressing the importance of our role in negotiating, not speculating, on social conditions. It is not a technique of two extremes, as no individuals live in binary conditions of interactions. Rather within each lens of consent are variations of collection, ownership, and access to one another. COLLECTIVE CONSENT

NIMA SHARIAT ZAMANPOUR

SILHOUETTE

BIG BAR + LITTLE BARS

COURTYARD + BACKYARD

SHIFTING SIDEDNESS

THREE VILLAGES

SECOND FLOOR PLAN

COLLECTIVE CONSENT

CONJOINED UNIT 26

NIMA SHARIAT ZAMANPOUR

1. UNANIMOUS CONSENT Permission given by surrounding parties. This should be the designers aim in situating ones project in the given context. Once again, not as a referential act to what is existing, but properly adding to the growth and development of the neighborhood.

The front of house is a flat bar holding the street edge and mirroring the urban condition of the transit line across the street.

The back of house individuates into little bars acknowledging the domestic neighborhood adjacent to our site.

COLLECTIVE CONSENT

NIMA SHARIAT ZAMANPOUR

2. INFORMED CONSENT Permission granted with the knowledge of possible consequences. It exists at the urban scale and determines how the public interacts with the project.

The larger opening with views to the public backyard is a welcoming acknowledgment for one to pass through and enjoy.

But when met with the courtyard condition and the blankness of an intimate space, one acknowledges the unfamiliarity and regards it as private entry.

COLLECTIVE CONSENT

NIMA SHARIAT ZAMANPOUR

3. IMPLIED CONSENT Consent that is not expressly granted by a subject, but rather implicitly granted through the circumstance of a particular situation. In this case, the corridor. By designing circulation as a series of implicit circumstances, we can create negotiations of ownership outside of the units.

When met by a corridor culminating in one solid door, one understands this as owned by the occupant. Another inhabitant does not have implicit consent in breaching this implied threshold.

By adding a door to the adjacent unit and changing the partition type, there is an implied threshold of collective ownership.

COLLECTIVE CONSENT

NIMA SHARIAT ZAMANPOUR

4. EXPRESS CONSENT This is one that is clearly and unmistakably stated rather than an implied. This is exhibited in relationships amongst windows.

Unit to corridor is an asymmetric relationship. As the occupation of the unit is a fixed condition the windows operate in favor of the unit resident, not the corridor passerby.

Inversely a unit to unit condition is a symmetric relationship. As residents occupy both spaces there is an express consent of transparency between the two units.

COLLECTIVE CONSENT

NIMA SHARIAT ZAMANPOUR

LIBERATED DESIGN SCHOOL

Critic: Alfredo Thiermann Studio: Core 3 | Integrate Site: Bobst Library, NYC Date: Fall 2019

For Core 3 we were tasked with building a design school on top of the central building of the NYU Campus, the Bobst Library designed by Phillip Johnson. The project maintains the original buildings program while adding a 275,000 sqft Design School above. This addition also needed to account for its own structure systems, and with the security concerns of the library, its own entrance. Our critic Alfredo Thiermann assigned us to do a close study of a design school, with mine being the Nantes School of Architecture by Lacaton & Vassal as a source for design rational and programmatic logics. In my reading of Nantes, I focused on the schools creation of ‘liberated spaces’ through the compression of rigid programs like office and classroom. In these liberated spaces students are able create full scale mockups and change the physical nature of the school from year to year. These ‘liberated spaces’ serve as a new model for an urban design school, allowing for students to break away from their desks and to instead collaborate with physical experimentation. This design logic is met with a a tapering Hugh Ferriss inspired massing, that crowns the simple block of Bobst in a way that aligns with the Manhattan skyline context and minimizes shading impacts on Washington Square Park. The mass is accomplished through a continuation of the moment frame structural grid of the existing library that allows for continual reconfiguration of floors as the needs of the school change. NYU DESIGN SCHOOL

Axonometric 1/16” = 1’ 0”

NIMA SHARIAT ZAMANPOUR

FERRISS MASSING PROVOCATION

STRUCTURE CONCEPT

1/8” MODEL NANTES PRECEDANT STUDY NYU DESIGN SCHOOL

PROVOCATION 32

NIMA SHARIAT ZAMANPOUR

1/32” MODEL G

NYU DESIGN SCHOOL

NIMA SHARIAT ZAMANPOUR 10

LOBBY

OFFICES

STUDIO

STUDIO SPACE WALL DETAIL

Wall Detail

1/2” = 1’ 0”

NYU DESIGN SCHOOL

E K

NIMA SHARIAT ZAMANPOUR

FIRST DAY

MID-SEMESTER

FINALS

REVIEW SPACE

STUDENT DESKS

LIBERATED SPACE

1/4” MODEL

NYU DESIGN SCHOOL

NIMA SHARIAT ZAMANPOUR

1/4” MODEL NYU DESIGN SCHOOL

NIMA SHARIAT ZAMANPOUR

CALLIGRAPHIC SPACE

Critic: Michelle Chang Studio: Core 2 | Situate Date: Spring 2019 (1.5 weeks)

This assignment was an exercise of creating a spatial bay module system that is then aggregated the system onto a sloped site. For my system I drew inspiration from calligraphy, specifically broad stroke calligraphy found in Kufic and Illuminated scripts. In these scripts, the stroke goes form thick to thin based on direction, and must be lifted form the page as it is comprised solely of down strokes. In the spatial bay the form changes from wall to room with the direction of the stroke, and rises and falls on the landscape at moments when the pen rises from the page. The final arrangement creates a series of spaces slumped on the landscape that are comprised of a single continuous surface.

1/8” MODEL

SPATIAL BAY

NIMA SHARIAT ZAMANPOUR

A1 A2

SITE PLAN 1/32" = 1'-0"

SECTION B-B 1/16" = 1'-0"

C B

SPATIAL BAY

NIMA SHARIAT ZAMANPOUR

HIDDEN ROOM

Critic: Elle Gerdeman Studio: Core 1 | Project Date: Fall 2018 (3 weeks)

For the hidden room project we were tasked with creating a set of five rooms, with one of the five being ‘hidden.’ In this system of tangential rings, the initial order is disrupted, shifting the enfilade off-axis and allocating space to one of the residual spaces enough to become the fifth hidden room. In the system doors are created at the tangential meeting of two circles. The hidden room is instead accessed through the intersection of circles, with the corner entrance placed out of view of the stairwell that leads to it. The other entrance is from the perimeter circulation. In this circulation the central room is skipped, leading to a new reading of four that shifts the label hidden from the original to the central room.

HIDDEN ROOM

NIMA SHARIAT ZAMANPOUR

DISRUPTED ENFILADE

HIDDEN ROOM

SHIFTED PLAN

OPEN CORNER

NIMA SHARIAT ZAMANPOUR

PAPER CLAY LAMINATION

Instructor: Nathan King Course: Material Systems Partners: Delara Rahim, Ayaka Yamashita Date: Fall 2019

This project is an exploration of an underexplored fabrication process of layered clay and paper. The research process explored the material qualities of the artifacts generated form this process. Through numerous trials the process was refined and later semiautomated using the ABB IRB-140 robot arm. The toolpath was designed to mimic the smooth movements of a human hand that would normally be doing the brush stroke. Through the standardization of this craft-based and labor intensive process, we were able to reliably creating <1mm thick ceramic sheets that survive bisque firing. The project synthesized into a research paper that documented the findings, and new process recommendations, providing the foundation for future research into this novel fabrication technique.

GSD COURSEWORK

NIMA SHARIAT ZAMANPOUR

PAUL REVERE FRAGMENT

Instructor: Billie Faircloth Course: Construction Systems (Fragment) Nima Shariat, Luke Warren, Jack Rodat (Drawing) Isaac Pollan, Diandra Karen Date: Fall 2019

In this class we were tasked with creating a 3’x3’x3’ fragment of a given case study, which in our case was the Paul Revere House. Due to the age of this house and the numerous changes it has gone through throughout its history, there is limited documentation of its construction. The fragment thus required a close in person survey of the building, and research into historic New England building techniques to fill in the gaps in information. We built the fragment using only hand tools and from a tree that we personally felled and hewing into beams. The riven lathes and floorboards come from found woodscraps from a barn of that time period. In this spirit of the spolia that Paul Revere House was built from, the infill is comprised of ‘rubble’ such as failed 3D prints and foam offcuts from around Gund Hall.

GSD COURSEWORK

NIMA SHARIAT ZAMANPOUR

INTERN

Office: William Rawn Associates Location: Boston, MA Supervisor: Dasha Mikic, AIA, LEED AP Date: Summer 2021

During the summer of 2021 I interned at William Rawn Associates. I worked on an office building that is targeting LEED Platinum for a non-profit focused on climate change. I worked directly with the project architect on schematic design, program arrangements, and material studies in both Revit and physical model. I led a model making team for the building of studies and mockups for internal review and for an on-site design charrette with the client. I also conducted sustainability analysis on multiple schemes of a project, analyzing daylighting, ventilation, and solar energy efficiency with different roof designs. The work has continued during the following school year, part time, as the project has moved to DD.

NBBJ BOSTON INTERNSHIP

NIMA SHARIAT ZAMANPOUR

SUMMER INTERN

Office: NBBJ Location: Boston, MA Supervisor: Jay Siebenmorgen, AIA, LEED AP Date: Summer 2020

During the summer of 2020 I was an intern at NBBJ’s Boston Office. Due to the pandemic the work began virtually from home where I worked on award documentation for a completed project in the form of plans, sections, and diagrams. Afterwards I worked on the Digital Cities Initiative, developing grasshopper scripts and methods for parsing large scale urban models consisting of buildings and topographies. In the second half of the internship I worked on a competition at the office, where alongside another intern we created a digital and physical site model as well as numerous iterative study models and a final model for the presentation to the client.

NBBJ BOSTON INTERNSHIP

NIMA SHARIAT ZAMANPOUR

Site Plan 0’

25’

75’

150’

AWARD DOCUMENTATION

NBBJ BOSTON INTERNSHIP

STUDY MODELS

FINAL SITE MODEL

NIMA SHARIAT ZAMANPOUR

NIMA’S CYLINDER

‫استوانه نیام‬ 2017 Irwin Scholarship Sculpture Cast Bronze

Nima’s Cylinder is a bronze cast cylinder alluding to the famous Cyrus Cylinder, a relic that details the Persian emperor Cyrus the Great’s lineage. Nima’s Cylinder is inscribed in farsi with the stories of my family’s migration from Iran to the United States.

PREVIOUS WORK

NIMA SHARIAT ZAMANPOUR

HAFT-SEEN

2017 Irwin Scholarship Performance/Installation Sabzeh, Samanu, Senjed, Seer, Seeb, Somaq, Serkeh, African Mahogany, Redwood, Rope

The Haft-seen is a traditional table setting in Persian households around the time of Nowruz (Persian New Year). It is comprised of seven items beginning with the letter ‘Seen,’ each representing an important aspect of the new year. Every year, I would return to Orange County excited to see the haft-seen back at my old house and my grandparents house. The haft-seen became one of the main signifiers of which places I felt connected to enough to call home. The haft-seen acts as a portal to the Iran that my family had to leave behind during the revolution — an homage to a place that no longer exists, that cannot be returned to. The haft-seen was a means to grant intimacy to unfamiliar places. This project consists of a wooden table that I have constructed utilizing a tatami corner joint so it can be easily disassembled. The wooden components and the items on the haft-seen are carried around and the haft-seen is set up at various locations, from art galleries, to forests, to strip mall parking lots, to my apartment.

PREVIOUS WORK

NIMA SHARIAT ZAMANPOUR

MATERIAL MARRIAGE

RUMI LIGHT

Material Marriage makes use of the dovetail, known for its aesthetic qualities and functional strength, to create an amalgamation of two disparate mediums, 3D printed plastic and poplar wood. Material Marriage joins the avant-garde with the archaic through its merging of additive and subtractive materials.

PREVIOUS WORK

Rumi Light is a lamp designed with a poem from the Kolliyat-e Samsi Tabrizi ‭‬‫تربیزی‬‭ ‬‫شمس‬‭ ‬‫ کلیات‬by Rumi inscribed on the shades. The inscriptions are written square kufic form, an arabic calligraphic script. The screens on the lamp are 3D printed, with thickness of the print determining the transparency. The poem is only shown when the lamp is illuminated.

NIMA SHARIAT ZAMANPOUR

Thank You

Portfolio - Nima Shariat Zamanpour

Articles inside

Paul Revere Fragment

46 47 48 Rumi’s Lamp

Highway Confederate 21

William Rawn Associates Summer Internship

Paper Clay Lamination