Portfolio Roshanak Ghezelbash 2020-ARC

ROSHANAK GHEZELBASH

RG

+1-2135003626 roshanak.ghezelbash@gmail.com roshanakghezelbash.com

RG

ROSHANAK GHEZELBASH

+1-2135003626 roshanak.ghezelbash@gmail.com roshanakghezelbash.com Los Angeles, CA 90068

PROFESSIONAL SUMMARY Expert in use and implementation of Revit in Architecture Practice, including Model Creation, File Origination, Management, Template Setup.

EXPERIENCE Mid-level architect, WE Architecture, Dec 2014 - Aug 2019, Tehran, Iran Revit-based designer, modeler, and model manager Digital modeling and rendering Material selection, Site analyze, Construction documentation Advocate for novel design technologies and software solutions Developer of office-wide Revit standard and tools Junior-level architect, Amir Kabir Co., Apr 2011 - Nov 2014, Tehran, Iran Digital modeling and rendering Creation of conceptual, working, as-built, and shop drawings Conducted field surveys, coordinated with suppliers, manufactures Design custom decoration, furniture, casework, Material selection Internship architect, Imen Markazi Design, Dec 2009 - Jan 2011, Tehran, Iran Research history, developed analysis and concept design Creation of diagrams, drawings, graphics, and physical models

EDUCATION Master of Science, Design Theory and Pedagogy Sep 2020 SCI-Arc - Los Angeles, CA Master of Science, Architecture Jan 2015 AIU - Tehran, Iran Bachelor of Arts, Sculpture Jun 2010 Tehran University - Tehran, Iran Associate of Arts, Graphics Jun 2005 Vali Asr College - Tehran , Iran

SKILLS Revit AutoCAD Maya 3D Max After Effects Photoshop Illustrator Rhino Arnold Zbrush Sketchup Google Suite Photography Sketching Sculpture Model Making

SELECTED E X H I B I T I O N S Solo exhibition My Unfinished Structure Sayeh Gallery, 2018 Flower Exhibition Negar Gallery,2018 Self In Other Perception Sayeh Gallery, 2018 Small Sculpture Iranian Artists House, 2011 Martyrs Sardasht Monument Sardasht Exhibition, 2005 Levitation and Molana Emam Ali Art Museum, 2005

WORKSHOPS & SYMPOSIUMS Blue Rhino Symposium and Exhibition Best Hotel, Istanbul, Turkey, 2018 Designing Villa, By Hariri & Hariri Contemporary Architects Association, Tehran, Iran, 2015 Tradition + Identity, Kasper Ax AA Tehran Visiting School, Tehran, Iran, 2014 Design And Construction Arch House Of Iran, Yazd, Iran, 2013 Educational System and Research Iranian Architectural Association, Tehran, Iran, 2012 TA 101 Course, Transactional Analysis The Gregory Institute, Pert, Australia, 2005

Future Cities 2050

Future Cities 2050 Studio Project, Instructors: Farhad Ahmadi, Shahid Beheshti University Group Work: Roshanak Ghezelbash, Parastoo Ezati, Spring 2015.

The final master Studio is based on the premise that the ideas, techniques, and formal provocations. In the studio, contemporary issues of critical importan discourse contexts, explored and produced. Living in the Anthropocene era and rising sea-level makes it more evident that we will soon experience anothe population on earth triggers the land shortage accordingly, lacking natural resources. The need for alternative energy sources and enhancing personal spaces where everyone has privacy while a community brings such cluster cities. Nature: In the shape of green surfaces between frames and different latitudes. En mentioned before, there is three energy cycle in the central core.

nce provide alternative architectural er urban type. The expansion of the plus a global village requires a place nergy: This provides in two ways, as

Future Cities 2050 Studio Project, Instructors: Farhad Ahmadi, Shahid Beheshti University Group Work: Roshanak Ghezelbash, Parastoo Ezati, Spring 2015.

Future Cities 2050 Studio Project, Instructors: Farhad Ahmadi, Shahid Beheshti University Group Work: Roshanak Ghezelbash, Parastoo Ezati, Spring 2015.

Use of alternative resources : The creation of alternative energies is a topic that has been considered in two parts. This complex’s primary structural definition is the central absorbent cor To justify the floating potential, we might need an auxiliary structure to keep the mass’s stability and confront ocean waves, Something like a plate works the pilings, or other substrates. These animals produce their byssal threads using a byssus gland located within the or- organism’s foot. A group of these mussels it as an anchor, and then shortening it. Residential: consist of a set of cells in which each section will define a space for human living uniformly cover all the co

Sky-Scrapers Growth

re of the sea’s power: Wave energy, Tide. Body of each cell as an adsorbent of solar energy, making the cell like a closed cycle of life. e same as a mussel type structure. Byssal or byssus threads are strong, silky fibers made from proteins used by mussels and other bivalves to attach to rocks, s, strong filaments, are secreted by some clams’ families to attach themselves to hard surfaces. Mollusks can move slowly by extending a byssal thread, using ollection.

Fashion House

Fashion House Studio Project, Instructors: Reza Miri, Azad University Fall 2014

An eco-village is a place for people who desire to live in a city’s cultural atmosphere with less exposure to traffic or air pollution. The project was located in the countryside, based on sustainable architecture, socially, and power saving. My project to improve the community was a production site to produce some fabric and cloths. The fashion house has a natural-based approach, a place for visitors to the village as a financial resource. A place to create, socialize and educate children in different ranges from fabricating to tailor clothes. The base concept was the design of a cubic form with local materials. Using light, thin fabric for facades protects from rain and wind and provides sunlight in the complex. Moreover, locating the classrooms under the ground creates the opportunity of using soil’s thermal performance.

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Fashion House

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Studio Project, Instructors: Reza Miri, Azad University Fall 2014

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Fashion House Studio Project, Instructors: Reza Miri, Azad University Fall 2014

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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3.60

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Sand Wave Community Center

Sand Wave Community Center Studio Project, Instructors: Reza Habibi, Azad University Spring 2013

The community center is based on the Kashan desert to accommodate people for gathering and social events. The site-specific center was inspired by how wind shapes the desert’s sand. The project combined protrusive organic formations, linear embellishments, and futuristic sensibilities. The grand scale of achievement is how this place could be a place for minorities to gather, hence a better chance of equal opportunity and social injustice. The architecture is conceived as landscape--the landscape becomes architecture, and the building takes on the surrounding countryside wave. The desire to be one with nature and connection with the landscape also felt from within the building. The main salon has a generous glass façade, both in size and sophisticated details—the outside’s visual contraction.

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Sand Wave Community Center Studio Project, Instructors: Reza Habibi, Azad University Spring 2013

Sand Wave Community Center Studio Project, Instructors: Reza Habibi, Azad University Spring 2013

Sand Wave Community Center Studio Project, Instructors: Reza Habibi, Azad University Spring 2013

Light Museum

Light Museum Studio Project,Instructors: Hossain Ghamchili, Azad University Spring 2014

Light Museum Studio Project,Instructors: Hossain Ghamchili, Azad University Spring 2014

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oroaster said: love like sun, even if you want to not take love to someone you cannot. The light museum used different lighting systems to create a creational p museum allowed exploring light, shadow, and reflection between them--like reflecting light throughout the water in a dark room, reminds the goddess of wa provides an extraordinary experience for who comes to the light museum. Learning and playing in different rooms of this place brings about another type of

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place for various audiences: children and adults. To achieve both amusement and education, the ater, Anahita. The most significant recourses of life, the sun, called Mehr— love, in ancient Iran, experiment using audience contribution.

Light Museum Studio Project,Instructors: Hossain Ghamchili, Azad University Spring 2014

SECTION B

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Qazvin Headquarter Building

Qazvin Headquarter Building Competition Project, Group work: Roshanak Ghezelbash, Naser Ghanbari, Paniz Ghaednia.

Tehran, Iran, Spring 2017.

The Glass House is for the whole town a symbol for the rejuvenation and the new-found self-esteem of glassmaking in the country. The most excellent factory of making glass in Iran held a competition for headquarter in the capital. A sustainable approach to have natural air ventilation and providing daylight for office hours. For avoiding sunlight of sunset for the main facade in the west, make alter-native shades to change during the day to evening. The Dimond shape inspires by Iranian architecture. The luxurious touch of the lobby made it more of a metaphor for darkness and light.

Qazvin Headquarter Building Competition Project, Group work: Roshanak Ghezelbash, Naser Ghanbari, Paniz Ghaednia.

Tehran, Iran, Spring 2017.

Venus In Downtown

Venus In Downtown Studio Project, Instructors: Rachael McCall Studio, SCI-Arc Summer 2020

Through immigration, self-exile, or involuntary displacement, I represented a state of alienation--a diaspora condition. Found themselves as Alice that ended up in the wonderland out of their curiosity and only then realized their status as an outsider. Detached from the initial land and were not attached to the new one, observed, and absorbed other cultures. Meanwhile, seeking their roots to shape a new version of Self. When we left their comfort zone, we made projects with assets from what brings us photos and letters.

Venus In Downtown Studio Project, Instructors: Rachael McCall Studio, SCI-Arc Summer 2020

Continuous Domes

Continuous Domes Workshop: Tradition + Identity, Instructors: Kasper Ax, AA Tehran Visiting School, Summer 2014.

The workshop is based on researching continuous materials and inventing design opportunities on the boundary between liquid and solid. In Iran architecture, the vast majority of methods depended on chemical processes. The best example of that could be the compression or solidification of molded mud turning to bricks and adobes. With recent technological additions in the building industry, such as programmable 3D printing and robotic arms, our conception of continuous materials must be tested, challenged, and pushed to the extreme. The intention was to obtain material properties that match the regional heritage’s sophistication and respond to actual and future requirements—contracting on dominant geometric elements, domes, not reproducing or imitating it, instead of examining it and understanding the centuries of knowledge embedded within it. The group analyzed fragments to discover any logic that reveals itself in traditional patterns, textures, structures, and architectural elements to enable new spatiality ideas. Architectural layouts represent pure forms, symmetry, and stability suggested organizational principles and inhabitation subordinate to them on the urban and the building scale.

, o s d n d

Continuous Domes Workshop: Tradition + Identity, Instructors: Kasper Ax, AA Tehran Visiting School, Summer 2014.

Self-Portrait Self In Other Perception at Sayeh Gallery Summer, 2018

Modern humans make selfies from their leisure moments, and happiness never mentioned what we suffer. the “Self in other perception,” collectin shows how people see themselves in reality. Moments we omit in social media. Make a relief and a calm moment even we have lots of issues with the world’s current situation. Make a perfect selfie apart from what we live—Reffernig to van Gogh self-portrait and how honest it was. We witness the moment of self-reveling. My self-portrait made an unmistakable thought of speaking about the reality of my situation. Insecurity and unclear moments in life that we try to hide them.

Protect Me From Me Unfinished structure, Solo exhibition at Sayeh Gallery Summer, 2018

After her abortion, a friend of mine lost family support. She tried to survive after trauma, choosing not to have a child in Iran, both illegal and unconventional. She decides not to have a baby, but somehow she lost her fertility and family at the same time because of the improper way of abortion.

Many female figures, every year, even death because of out-clinical surgeries. They try to stand on their own feet with hard work while they lost physical and emotional ties. She paints and makes sculptures. Her hands protect her from what she wants. A self-destructive decision that leads to pain and suffers. Hands remained invisible, the specific detail of the body deprived of attention, restless precious creatures.

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