native speaker IELTS band 8 J’ai travaillé et étudié en français. Faccio lezioni di italiano. English fluent French intermediate Italian basic
YASAMAN NEDJATI
master’s degree in interior and spatial design
Politecnico di Milano, Italy - school of design grade: 110/110
master’s degree in interior architecture specialized in scenography
ESA Saint-Luc Bruxelles, Belgium [Erasmus+] grade: 30L/30
bachelor’s degree in architecture University of Tehran, Iran - faculty of fine arts grade: 18.08/20
intern stage architect
La Monnaie / De Munt, royal opera house of Brussels, Belgium created technical designs for stage sets
intern scenographer
KASCEN scenography agency, Louvain-la-Neuve, Belgium designed immersive exhibitions from concept to build
production designer assistant and set decorator
Greyish Blue short film - head designer: Sara Azampanah, director: Abtin Salimitari
Acid Base short film - head designer: Sara Azampanah, director: Shirin Ekhlasi shaped design from shot lists, adapted materials, timing, teamwork, and spatial storytelling
IELTS instructor
Safir language academy, Tehran, Iran
writer, researcher, and translator
Dariche architecture journal of the Architecture Assembly of University of Tehran [aa.ut], Iran
Ghaab electronic magazine, a monthly visual arts e-mag, director: Pejhan Pajouyan
The Globe International Silent Film Festival, Art University of Tehran, Iran international communication and interview preparation
set architect
It’s Your Lucky Day stop motion - set designer: Behnaz Agahi, director: team of directors screened at the 16th Nahal Short Film Festival interpreted space through scénarios
English teacher and discussion session holder
Iran Language Development Institute, Karaj, Iran developed engaging teaching methods
honors and awards specialized training and workshops
prize winner / visual merchandising tools concept generation for Valextra Valextra Retail / Poli.Design workshop + competition / group work design and development of concept and experiences for Valextra’s Retail free standing boutiques and department stores
direct admission to master’s degree in studies in Iranian architecture University of Tehran, graduation with highest distinction, entered without entrance exam
selected academic project
Moody Mazes, Polietcnico di Milano, contest design studio / group work exhibited in Iris Ceramica Group Showroom, Milan, Italy
House of Visual Arts, University of Tehran, design studio
3 / individual work exhibited in From Studio to Exhibition, the 6th annual exhibition of architecture students’ selected studio works
prize winner / Cross Encounters, a journey through literature and architecture
High-Rise video essay, University of Geneva, Khatam University, Dyban international architecture office workshop + competition / group work exhibited and screened in Cross Encounters exhibition at Khatam University
honorable mention / design of a portable accommodation for flood victims
Iranian National Commission for UNESCO / United Nations Educational, Scientific and Cultural Organization workshop + competition / group work exhibited at Iranian National Commission for UNESCO
MOBILITY: towards a mobile future in a sustainable and intelligent environment
DC4DM Learning Lab / Télécom Saint-Étienne / Politecnico di Milano, Saint-Étienne, France research and prototype design in relation with mobility of culture
teacher training course for teaching English to adults (TTC) Safir language academy, Tehran, Iran
production design for film and screen course
Australian Film, Television and Radio school / online
Floated Plates workshop
Ramtin Haghnazar / University of Tehran, Iran integrated computational design and fabrication with grasshopper plugin
Nodeless Network in Art and the 4th Dimension workshop and symposium
Arman Khalilbeigi / University of Tehran, Iran international symposium on conceptions of time, space and movement in art
publication
Offstage: Settings for Adjacent Solitude; Liminal Spaces for the Enjoyment of Knee Plays master’s thesis book, Politecnico di Milano
Wandering Spaces: Interior Design in Motion collaborative book on mobile interiors including interviews with architects: Kyunghyun Lew from Polydrops, Guillermina Ceci from PRODUCTURA, and Andrew Ingham from Denizen Works
An Overview of Iconology; As a Tool Capable of Creating Meaning from the Inner Layers of Architecture published on Koubeh.com, a free space to think about Iranian architcture
Architecture and Film
Farsi translation of an essay Terri Meyer Boake
Daricheh #6 - translated essays section - pp. 186-191
The Reuse Imaginary workshop
Graeme Brooker / Royal College of Art London/ Politecnico di Milano, Milan, Italy transforming super composites into one’s own imaginary of domesticity
Visitor Engagement & Information Services
Salone del Mobile, Milan, Italy provided front-line communicatio at one of the main visitor points during Milano Design Week
Design for Ukraine’s heritage workshop
Anna Barbara / Project MEAN /Design Against War / Politecnico di Milano, Milan, Italy virtual exhibition of Ukrainian museums
The Great Empty
Farsi translation of an essay Michael Kimmelman
Daricheh #6 - translated essays section - pp. 198-203
The Umpteenth Number a collaborative essay accompanied by collages made as an interpretation of books by Dostoevsky, Kafka, and so on
Daricheh #6 - “The Next New Version” section - pp. 288-300
Cinema and Narrative
Farsi translation of a section of the book “Cinescapes” written by Richard Koeck
Daricheh #5 - translated essays section - pp. 95-96
02
La Monnaie / De Munt
Technical Stage Design Brussels, Belgium Professional / Summer 2024
01
Offstage Settings for Adjacent Solitude
Milan, Italy
Academic / Thesis / Individual Project / Spring 2025
03 KASCEN Exhibition Scenography Louvain-la-Neuve Belgium Professional / Spring 2024
04
Moody Mazes Follow the Moon and Lose Yourself I Milan, Italy
Academic / Contest Design
Studio / Competition / Group Project / Winter 2024
05
Valextra Visual Merchandising Tools Concept Generation I Milan, Italy Competition / Group Project / Winter 2023
06
Music House of Isfahan
Exploring the Relationship Between Iranian Architecture and Music Isfahan, Iran
Taking half a step back from the crowd, one can enter new zones of quiet that lie alongside but separate from all that is happening in the outside world. As if one is outside in mind but inside in space, maintaining a relationship with the external world while still retaining a sense of personal space. Here, there is pleasure in the solitude that comes from being alone yet surrounded, allowing the external world to be observed without the pressure to engage, remaining adjacent, in another layer.
Space is filled with both physical and metaphysical liminalities. Light, sound, walls, and trees can all create layers within a space. The visibility of these divisions between layers can vary, from firm, like walls or doors, to more fluid boundaries, such as noise or shadows. Within these layers, the roles of the observer and the observed can interchange, as if we are always simultaneously onstage and offstage, with the definition of the stage shaped by the point of view. We are almost always being seen while observing.
scan the QR code to open the thesis book
family headshot of the nine settings
Theatre has traditionally separated the staged from the unstaged, yet what lies just beyond the performance frame carries its own significance. This thesis explores the “offstage” as an active, liminal space where presence is redefined, and solitude exists adjacent to the crowd. The central question is: What do urban spaces offer those who seek solitude within the public realm, without isolation?
At the heart of this inquiry is “adjacent solitude”, being alone but not isolated, present yet not participating. These are spaces where one can exist alongside others without the pressure to engage, often in areas that resist clear definition. Liminality complicates this, representing transitional spaces where boundaries are blurred, offering room for quiet, personal interaction with the public.
Knee Plays, from Robert Wilson and Philip Glass’s Einstein on the Beach, serve as interludes between acts, with “knee” referring to how knees connect separate movements, much like transitional spaces in urban environments. These “in-between” moments mirror urban spaces that exist on the edges of activity, neither fully engaged nor apart, shaping how solitude is experienced in the public realm.
In a gallery, people looking at art can become part of what’s being seen. The onlooker watches not just the works but also the way people move through them, how they pause, how they react.
Sitting alone with a newspaper invites distance, while a chess board invites interaction, but true onlooking lies in between. It’s about stepping back, observing others as performers of the space, experiencing the moment individually yet collectively, with attention directed outward but without direct engagement.
framing the audience in front of the Berlin wall memorial, Van Gogh museum and Stedelijk museum in Amsterdam
layered deconstruction of Edward Hopper’s Morning in a City, Night Windows, Nighthawks, Hotel Window, and New York Cinema
Populated by isolated figures or uneasy groups of twos and threes, Edward Hopper’s paintings layer subjects and spectators, capturing a sense of discomfort at being observed through windows or architectural elements that create a spatial feeling of closeness yet separation. This voyeuristic perspective mirrors loneliness, combining exposure with isolation, a feeling of being both seen and walled off.
In Hopper’s work, the viewers extend beyond the painting itself, drawing us into the role of voyeur. This isolation works both ways, witnessing and being witnessed, creating an erotics of insufficient intimacy. Through unusual perspectives and barriers, Hopper forces us to engage imaginatively with loneliness, presenting a world full of separation, walls, and windows that reflect the alienation of urban life. The color green enhances this theme, symbolizing the atomization of individuals.
Spotting Pleasurable Alone-ness in Mass Presence
A Study of Adjacent Solitude in Public Places Through Words and Images
The adjacent solitude in question carries within it the notion of unfolding in a different layer. It exists in the space between the stage and the audience, where the knee play happens, acting as an invisible barrier that separates you from the outside world and creates room for simply being, even if only slightly distanced, among others. It’s a place with a sense of boundary, but no real division. This solitude happens in a space shaped by various physical features, layers, and transitional spots. Following a few images and descriptions of these areas from various individuals, a few examples are studied to demonstrate how the layering is either purposefully or inadvertently placed in these areas to describe that non-literal zone where people can feel at ease in a public situation.
So I asked people to describe a public space or a place in the city where they felt at ease being alone, even in the presence of a crowd, without feeling isolated or detached and through their responses I creted a synthesis of in-between spaces.
at the movies slightly enclosed urban setting above
park benches
around the water pool in the middle of the square
in-between buildings a couple of steps down the street
a bench in the corridors leading to the
watching people looking at art behind the building facing the street behind the fences
benches facing the city square
long, narrow corridors in-between buildings
This project unfolds across five cities; Venice, Milan, Brussels, Berlin, and Tehran, each selected for its capacity, or lack thereof, to accommodate an individual onlooker’s presence. Each site is examined through its layers within the urban landscape and the ways in which it interacts with them.
Venice’s liminality is shaped by water, its defining element. The city minimally adapts to rising tides, maintaining a close connection to its surface. Its streets, bridges, canals, and campos form layered, flowing spaces between land and water.
Venice responding to its surface conditions by adapting precisely to the shifting water levels
Looking forward while connected to its past, Milan blends modern and historical elements in constant dialogue. Sleek glass towers rise among older buildings, layering time vertically. Events like Design and Fashion Weeks drive cyclical reinvention, while hidden courtyards (case di ringhiera) reveal the city’s unseen, intimate layers behind its facades.
Venice constantly shifting between land and water
Brussels is a city of physical and cultural transitions, with shifting elevations creating layered views. Its linguistic divisions and international role shape its identity. The city balances modern growth with historical roots, blending the Grand Place and Art Nouveau heritage into a layered urban fabric.
spoken languages in
Grand Place enclosing the square like a
case ringhiera: looking in / towers: looking out modern and historical coexisting in Milan
Berlin’s urban fabric reflects its divided past, with the Spree River both separating and connecting east and west. Today, distinct neighborhoods repurpose historic and abandoned spaces into vibrant cultural hubs, embodying the city’s spirit of reinvention.
Tehran’s liminality lies in its contrasts between public and private, visible and hidden, with sudden shifts in scale and rhythm. Its architecture carefully negotiates exposure, while the city’s topography layers social and physical divisions, from elevated northern districts to denser southern areas.
brussels
stage
the Berlin wall dividing the city into two block
narrow streets leading to highways in Tehran
Piazza San Marco
Venice
Piazza San Marco is Venice’s iconic public square, surrounded by monumental buildings like Basilica San Marco, the Campanile, and Palazzo Ducale. Its expansive open space acts as a dynamic stage where visitors constantly move, entering the basilica, exploring the piazza, passing under colonnades, or traveling to and from the waterfront.
Milan
Within the walls of Castello Sforzesco, the Cortile delle Armi forms an open-air urban stage, welcoming both castle visitors and passersby as they move through or pause within its enclosure.
Grand Place Brussels
Grand Place frames the square like a stage, constantly filled with a large crowd as one of Brussels’ main tourist sites. It offers no place for pause, people move through it, observing everything around them as an audience, while the surrounding buildings stand as a second audience, watching over the scene.
Berliner Innenstadt Berlin
The Berlin site is located at a break in the Berlin Wall, an open space overlooking the river and the western part of the city and emboding Berlin’s liminality as a threshold. Situated in the city center, it attracts many visitors who gather around, exploring the remnants of the wall.
In front of Golestan Palace
Tehran
In the central part of Tehran, in front of the monumental Golestan Palace, a small square offers a place to sit and gather. Unlike the grandeur of the palace, it exists modestly, serving as a quiet, everyday space within the city.
Cortile delle Armi
Nine Settings, Three Cities
Nine settings have been designed across three of the selected cities; Venice, Milan, and Brussels, each with three distinct placements. All five cities; Venice, Milan, Brussels, Berlin, and Tehran, have been studied and analyzed for their spatial and observational qualities, but the interventions focus on three. Berlin and Tehran remain as essential points of reference, informing the broader exploration of liminality and the act of looking within the urban landscape.
In Venice, the settings are made of oak, a material that connects to the city’s wooden foundations and long history with water. In setting one, the viewer’s position is carefully chosen to face the terraces of the Basilica di San Marco, with the first setting offering a vantage point that looks through openings into the second space. This positioning creates a visual hierarchy, where the first setting acts as a frame through which the viewer anticipates the larger scene. The second structure, positioned with panoramic windows, offers an expansive view of the terraces, establishing a dialogue between the observer and the vast, open backdrop of the basilica. The viewer moves from a contained, intimate space to a more open and expansive field of vision.
Venice setting 1 placement in Piazza San Marco
Venice setting 1 field of view in Piazza San Marco Venice setting 1
The layers in this setting are defined by the relationship between the spaces and their respective functions. The first setting serves as the viewer’s point of entry, framed by openings that reveal glimpses of the second structure. This first layer functions as a threshold, guiding the observer’s gaze toward the panoramic windows of the second layer. The second structure is where the action happens, with the windows serving as both a physical and conceptual interface between the interior and the backdrop of the terraces. The backdrop layer, represented by the panoramic view of the terraces, is the focal point, giving depth to the space while remaining visually distant.
Venice setting 1 backdrop layer
Venice setting 1 technical drawings
Venice setting 1 exploded axonometric
Venice setting 2
Venice setting 3
Milan setting 1
Milan setting 2 field
The Curtain-Call
The Script
The project follows a calendar that sets when each setting appears and disappears, shaping its rhythm over time. In Venice, the first setting takes place from January to March, during winter and Carnival. The second follows from April to June, through spring and Easter. The third happens in August and September, during the summer and peak gondola season. In Milan, the first setting runs from January to April, marking the shift from winter to spring. The second, from April to May, includes Design Week. The third, from September to November, unfolds in autumn. In Brussels, the first setting appears from March to April, overlapping with early spring and festival season. The second, from May to July, stretches into summer. The third, from October to December, leads into winter and the Christmas period.
Stage Architecture
Internship
La Monnaie / De Munt
Department of Draugting and Modelling Brussels, Belgium
Head of Department: Jean Marcouiller
As an intern stage architect at La Monnaie / De Munt, the Royal Opera House of Brussels, I contributed to the technical development of an existing set design proposed by the scenographer. My responsibilities included detailed 3D design using AutoCAD, technical drawings for stage structures and furniture, physical model making under the guidance of a stage designer, and coordination with material manufacturers and stage engineers. I collaborated closely with set builders and had the opportunity to observe the full-scale assembly of a theatre set from start to finish.
scene from Götterdämmerung screeenplay and music: Richard Wagner
director: Pierre Audi
set desginer: Michael Simon
The Attic / Fanny & Alexander: Assisted in the design and sourcing of tubular materials for a mobile attic structure integrated into the performance.
Fanny & Alexander:
DE MUNT LA MONNAIE
Cantiliver / Fanny & Alexander: construction plan and technical details sheet
Scenography
Internship KASCEN
Scenography Agency
Louvain-la-Neuve, Belgium
Founder: Yves Amand
As an intern scenographer at KASCEN, I worked on the design of multiple exhibitions, focusing on interactive furniture, the spatial itinerary of the visit, and the overall narrative structure. My contributions covered various phases of the design process, including early concept development, refinement of design ideas, technical drawings, detailing, and support through the realization stage. I was also involved in the design of a signage system for the VUB Rectorate Building.
Dessine-moi un train, musée Train World
Dessine-moi un train Exhibition Design for Train World Museum
“Dessine-moi un train” is a temporary exhibition at Train World that invites visitors to explore the railway-inspired works of renowned artists such as François Schuiten, Paul Delvaux, and Victor Horta. Designed by Kascen, the exhibition blends seamlessly into Train World’s imaginative setting and offers a dual experience: a discovery of artistic interpretations of trains and stations, and an opportunity for visitors of all ages to become creators themselves through interactive drawing zones inspired by the museum’s collection.
drawing desk, two versions, One features a tilting surface for dynamic sketching; the other includes a builtin drawing grid for precision work
introductory tool, pencil display: an exhibition element featuring an oversized pencil, used to present and introduce the featured artists.
flooring
Interpretation Center for Milling, Moulin de Ferrières
Design and development of a museographic project for the creation of an Interpretation Center dedicated to milling, located at the Moulin de Ferrières in Lavoir. The project included writing the exhibition concept, preparing technical specifications, and overseeing implementation.
second floor’s circulation plan
The scenography echoes the outdoor design of Ferrières woodland, with curved openings in a conceptual “wheat field” installation offering glimpses into mill life at different times of day. Predominantly wooden, the design uses metal accents to highlight forms and objects, in harmony with the site’s architecture.
render views of the exhibition devices
central exhibition device
Signage Design for the VUB University Rectorate Building
The formal vocabulary of the ellipse is present in every detail of the building, from its general shape to the handle of the reception door. This distinctive form of this architecture is linked to the symbolism introduced by Braem into the building (cycle of life, tracing the Earth’s orbit around the sun, history of science, etc.).
Representation of the signage on the door signs
The name of the office occupant is integrated into the colorful elliptical shape. This part can be easily replaced. The door sign mirrors the square shape with rounded corners of the door handle sign.
prototype
Moody Mazes
Selected Project
Contest Design Studio
Politecnico di Milano
Group Project / Winter 2024 / Milan, Italy
Supervisors:
Peter Di Sabatino / Frank clementi
Monica Mazzolani
Teammates:
Sofia Marietti / Fiorenza Protti
Benedetta Spada / Nihan Taspinar
This event reimagines the moon as a mirrorball across four dynamic mazes strategically placed in iconic Milanese locations. The labyrinths, intricately tied to the lunar phases, transform as the moon rises, guided by a shifting interplay of light.
Each labyrinth, seamlessly integrated into the urban landscape, offers a unique experience, featuring distinct cores and designs that evolve daily. From a mirrored moon in the first maze to an explosive covering of mirrored walls in the second, these spaces constantly change, inviting exploration. Visitors are immersed in a sensorial journey, guided by imagination and intuition, unveiling mysteries within the enchanting contours shaped by the interplay of light and the lunar cycle.
four
mazes in four locations, left to right: Colonne di San Lorenzo, Università Statale, Villa Belgiojoso Bonaparte, Piazza Cairoli scan the QR code to watch the promo video
Lunar phases denote changes in the Moon’s appearance as perceived from Earth, following a repeated pattern every month within the ‘synodic month’ duration of 28 days. The Moon doesn’t emit its own light; instead, half of it is illuminated by the Sun while the other half remains in shadow. Although we always observe the same face, the Moon’s appearance alters based on its position in orbit. The eight Moon phases describe its visual transformations: New Moon, Waxing Crescent, First Quarter, Waxing Gibbous, Full Moon, Waning Gibbous, Third Quarter, Waning Crescent.
NEW MOON THIRD QUARTER FIRST QUARTER
to sunrise from midnight to noon
from noon to midnight from sunrise to sunset from
a central core a path light
We decided to create a series of labyrinths next to important landmarks in Milan. Each labyrinth differs from the others in shape, materials, and structure, adapting to the contexts where they arise. However, these labyrinths share common elements: a path to get lost in, a central core, and a source of light that guides visitors.
labyrinths disposition in Milan
Four labyrinths, near Milan landmarks, follow a moon-like circular trajectory. Positioned at Colonne San Lorenzo, Università Statale di Milano, Garden of Villa Belgiojoso Bonaparte, and Via Luca Beltrami, they invite visitors on a concise four-stage route for an immersive experience.
EPHEMERAL
MIRROR BALL
MIRROR WALLS
WATER MIRROR
PURE
01. COLONNE DI SAN LORENZO
04. VIA LUCA BELTRAMI
02. UNIVERSITÀ STATALE DI MILANO
03. GIARDINI DELLA VILLA BELGIOJOSO BONAPARTE
MATERIALITY
MOVEMENT
REFLECTIVE OUTSIDE, OPAQUE INSIDE
PARTIALLY OPAQUE, PARTIALLY REFLECTIVE
TRANSLUCENT
THE MAZE AND THE CORE ROTATE
THE MAZE GOES UP AND DOWN AND THE CORE SLIPS
THE FOG APPEARS AND DISAPPEARS
THE DOOR OPENS AND PEOPLE MOVE
MIRRORBALL
MIRRORWALLS
DISCOMOON
The Moon undergoes a creative transformation in the project, adopting a disco ball-like appearance with captivating light and reflections.
The labyrinth rotates on a platform, moving 12.85° daily for 28 days in sync with a “Sidonian month.” Certain circular blocks independently move, creating ever-changing configurations.
The Moon guides the way to the core, its intensity changing with lunar phases. During the Full Moon, aligned corridors offer direct access to the core, filled with light. Inside, illumination shifts as the core rotates.
SPACEMOON
The Moon enters the second core, mirroring the first one. The mirror ball from the first core explodes, and its micro mirrors cover the second core’s walls, creating an immersive space.
Mobile partitions strategically change labyrinth passages by rising and lowering. During the Full Moon, passages to the center are straight and illuminated by core beams.
The Moon mirrors the first core in the second, as its exploding mirror ball’s micro mirrors create an immersive space on the second core’s walls.
STRUCTURAL MOVEMENT
core opening
MOONSET MOONRISE
CLOSING OPENING
WATERMOON
VILLA BELGIOJOSO from 03/08 to 02/10 core
dry paths
platform and wet paths
The labyrinth uses water as a reflective surface, seamlessly blending with the garden and symbolically connecting to the Moon’s influence on tides.
WATER INCREASES FOG DECREASES
During the New Moon, the labyrinth unveils diverse paths. The core, featuring a circular grid, produces rain of varying intensity, synchronized with moon phases, filling more paths as the phases progress. By the Full Moon, only three dry paths remain, allowing visitors access to the core.
RAIN INCREASES IN THE CORE
LIGHT ON/OFF
MOONSET MOONRISE
MOON IN THE SKY ON OFF MOON NOT IN THE SKY
The upper half is pitch black, disorienting and immersive, while the lower half is black during the New Moon and blinding white during the Full Moon. Entrance doors open only when the Moon is in the sky. The upper core brightens with lunar phases, but its Musou Black coating absorbs light, making it visible only under beams. The lower core starts dark, becomes nearly blinding during the Full Moon, and then gradually darkens. These cores uniquely manipulate light perception.
DARKMOON
from 01/11 to 30/12
The fourth maze consists of two large mirror domes on different levels, one above ground and one underground. The internal space is divided into two halves, one very dark and the other gradually becoming bright, symbolizing the contrast of moonlight.
The 20-meter-high structure extends both outdoors and underground, reaching Cairoli metro station. It has two accessible levels, with rotating walls and doors completing a turn in 28 days.
20 meter tall, two level structure
plan and entrance moving day by day the interior spotlights turning on/off with the lunar transformation the strucrural rotation, and the daily transformation of the darkmoon
OUTDOOR
UNDERGROUND
LEVEL:
FLOOR -1 TURNSTILES
FLOOR -2 PLATFORMS AND TRAINS
GROUND
VIA L. BELTRAMI
darkmoon section
An All Year Event
Moody Mazes are events designed for the city of Milan lasting a total of one year. In January 2024, the four mazes will be built and activated in different months, Each lasting two lunar months, starting from the first new moon of February. The mazes will be activated one at a time, but during the two lunar eclipses expected in 2024, all mazes will be active simultaneously for one day. When the mazes are not operating, they will be usable by the citizens of Milan for other leisure activities.
scan the QR code to watch the project video
posters and billboards around Milan to inform passers by about the events
Competition held by Poli.Design & Valextra Retail
Group Project / Winter 2023 / Milan, Italy
Supervisors:
Matteo O. Ingaramo / Federico Elli / Riccardo Nagri
Xiaozhu Lin / Martina Labarta
Teammates:
Avneet Deol / Konstantina Moutselou
Miriam Crespo / Davide Graysen Laurenti
This competition challenges participants to create innovative concepts and experiences for Valextra’s retail boutiques and department stores. The goal is to design Visual Merchandising tools that enhance product visibility and display capacity, engage clients, and improve the overall shopping experience. These tools should be adaptable, timeless, and compatible with various collections and store concepts worldwide. The aim is to increase conversion rates and sales while providing functional solutions for specific products.
Valextra Prize Winner
interior of Valextra’s flagship store
The Gentleman
The Charmer
The Highlighter
The Attractor 5. The collector 6. The Prestigious
7. The Bearer
family photo of all tools
prestigious
costa edge
smooth stone finish pergamena white
matte metal finish black
reged, semi-transparent
Valextra green
This design endeavor is dedicated to showcasing the boundless potential of each Valextra bag, illuminating their versatility in real-life scenarios. The bags are presented in a manner that not only invites exploration but also sparks inspiration for a myriad of product pairings. To realize this vision, a collection of understated, neutral tools has been meticulously crafted. These tools serve as a canvas, delicately accentuating the unique characteristics of each product while seamlessly integrating with the store’s interior.
The “Music House of Isfahan” focuses on the idea of a house, drawing parallels to the architectural essence of Iranian traditional music. It serves as a hub for both music enthusiasts and performers, offering flexible spaces for solitary reflection or social interaction. These spaces allow users to decide how they want to engage, whether it’s sitting, performing, socializing, or simply being present.
The design aims to bridge the gap between architecture and music, mirroring the layered structure of Iranian music in organizing spaces to facilitate diverse experiences. It’s crucial to emphasize that this approach isn’t about directly translating musical elements into architectural forms, but rather about uncovering the stories within these models and using them to define innovative spaces.
the sunken courtyard
Radif of Iranian Music
Radif of Iranian music is like a book which contains a collection of articles, each one consisting of an introduction, main content, poems and proverbs and a conclusion. Basically, Radif organizes a collection of very old melodic figures (Goosheh), which are preserved by oral traditions through many generations, into a number of different tonal spaces called Dastgah Radif of Iranian Music consists of exactly 7 Dastgahs (large articles) and 5 Avazes (small articles), each with its own hierarchy
Modaal Quality
An example of the movement between the layers called Goosheh in Iranian music, is the modaal quality or Morakkab Khaani. This occures when a vocalist or musician who is performing in a particular Dastgah, bridges to another Goosheh in a different Dastgah, and they do so through a special Goosheh in the former Dastgah that presents them with the opportunity.
melodic patterns spatial patterns cores, layers, and the movement between
In architecture, we can observe a similar type of movement between spatial layers in Shah Mosque of Isfahan, where its passageway (Dalaan), rotates 45 degrees from the entrance, and connects to the courtyard of the mosque
map of the city of Isfahan close up of the project’s site
street going aroundthefire temple
FerdowsSt.
AtashgahStreet
Site Analysis
towards the street going around the fire temple
The site of the Music House of Isfahan is located to the north of the area of a Sasanian fire temple, Atashgah. The street leading to the selected site is named Ferdos street and it branches from Atashgah street, which is an eastwest street parallel to Zayandeh Rud river.
the view of the fire temple from the project’s site
Zayandeh-Rud River
Sasanian Hotel
Ordibehesh Cultural Complex
Atashgah
Collage
A series of pictures were chosen based on their colors, light and shadows. Among these pictures were some consisting of Iranian architectural elements such as courtyards, passageways (Dalaan), balconies (Ivan) and so on. Greenery, water and material were also present in them. Then these pictures were put together in a form of collages
courtyard, interior elevation of ivans and other spaces
hierarchy of: interior spaces, semi-transparent middle dividing spaces and the courtyard
Sectional Collages
Three sectional collages were created throughout analysing the previous ones. These collages helped to find the hierarchy of spaces and to put together the basic volumes and come up with an initial concept for the overall shape of the music house
The first sectional collage helped with developing a volumetric sketch of half of the project.
The next sectional collage helped with the developments of the other half of the model.
1. entrance
2. courtyard no. 1
3. sunken courtyard
4. courtyard no. 2
5. lobby
6. auditorium
7. backstage
8. women’s room
9. men’s room
10. coffee shop
11. musical instruments’shop
12. music corner (goosheh)
13. office lobby
14. planing room
15. accounting 16. pantry
17. office wc
18. patio
19. passage way (dalaan)
20. education lobby
21. education management
22. locker’s room
23. library
24. women’s room
25. men’s room
26. patio
spaces where you can freely exist without external directives or expectations
entrance / 2nd scene
dalaan
entrance / 1st scene
Based on collage no. 1, this corridor is a semiopen and transparent space in between the courtyard and interior spaces, indicating a hierarchy in order to enter the office building from the open space of the courtyard. It also provides corners where the user has control over the way they spend their time.
sectional isometric from the smaller courtyard, the offices and the academy of music building
