CURRICULUMVITAE

SASSAN MIRKHANI

ADDRESS: UNIT 806, 2100 RUE SAINT MARC MONTREAL, QC, CANADA H3H 2G6 E.MAIL: SEYED.MIRKHANI@MAIL.MCGILL.CA PHONE: 1-514-692-6451

2011-2012

MCGILL UNIVERSITY, CANADA PROFESSIONAL MASTERS OF ARCHITECTURE (TOP RANKED STUDENT)

2002

RANKED AS TOP ONE PERCENT IN NATIONAL UNIVERSITIES ENTRANCE EXAM, IRAN. INTERNATIONAL UNDERGRADUATE STUDENT ENTRANCE SCHOLARSHIP UNIVERSITY OF MANITOBA STUDENT ASSOCIATION ACADEMIC EXCELLENCY SCHOLARSHIP. THIRD PLACE IN MANITOBAN, UNIVERSITY OF MANITOBA NEWSPAPER, PHOTOGRAPHY CONTEST. FIRST PLACE IN FAJR MUSIC FESTIVAL WITH PISHRO ENSAMBLE, HAMEDAN, IRAN. SOFTWARE: REVIT ARCHITECTURE RHINOCEROS 3D MODELING GRASS HOPPER V-RAY RENDERING FLAMINGO RENDERING PINGUINE RENDERING SOME CINEMA 4D SOME REVIT STRUCTURE

A W A R D S

E D U C A T I O N

2006 2006

2006-2011

UNIVERSITY OF MANITOBA, CANADA BACHELOR OF ENVIRONMENTAL DESIGN IN ARCHITECTURE (TOP RANKED STUDENT) IMAGINIT TECHNOLOGIES, CANADA REVIT ARCHITECTUE CERTIFICATE

2009

2006-2009

MANITOBA REAL ESTATE ASSOCIATION, CANADA INTRODUCTION TO REAL ESTATE THEORETICAL ASPECT OF REAL ESTATE PRACTICAL APPLICATION REAL PROPERTY LAW CERTIFICATE REAL PROPERTY APPRAISAL CERTIFICATE

2005

S K

2002-2005

IRAN NATIONAL UNIVERSITY, BASU SOFTWARE ENGINEERING

2006-2011
SUMMER 2006

INDEPENDENT PROJECTS

ADOBE ADOBE ADOBE ADOBE

ILLUSTRATOR PHOTOSHOP INDESIGN PHOTOSHOP LIGHTROOM

2000-2001

DANESH PRE-HIGH SCHOOL COLLEGE DIPLOMA IN MATHEMATICS AND PHYSICS

. HOUSE RENOVATION AND ADDITION PROJECT IN COLLABORATION WITH SIMA CHAVOOSHI AND KAMRAN CHAVOOSHI. ADDRESS: 112 ESSEX AVE. WINNIPEG, MANITOBA . HOUSE RENOVATING PROJECT IN COLLABORATION WITH SIMA CHAVOOSHI ADDRESS: 92 TURNHAM DRIVE, WINNIPEG, MANITOBA. . LOW INCOME HOUSING RESEARCH PROJECT, IN COLLABORATION WITH JASK DESIGN TEAM. DOWN TOWN WINNIPEG, CANADA .
ISLAMIC ART AND ARCHITECTURE SUMMER CAMP IN COLLABORATION

I
AUTOCAD 2D

WINTER 2008

SUMMER 2009

MICROSOFT WORD MICROSOFT EXCEL MICROSOFT POWERPOINT MICROSOFT ACCESS KEYNOTE PRESENTATION HAND SKILLS: ARCHITECTURAL MODELING ARCHITECTURAL HAND DRAWING ARCHITECTURAL DRAFTING PHOTOGRAPHY CONTE AND CHARCOAL SKETCHING LANGUAGES: FLUENT IN ENGLISH FLUENT IN FARSI SOME ARABIC SOME ITALIAN

WORK EXPERIENCE

WORK EXPERIENCE

WINTER - SUMMER 2011

DGH ENGINEERING LTD. ARCHITECTURAL DESIGNER:

SUMMER 2010

WITH ARCHITECTS WITHOUT BORDER AND PROFESSOR KELLY BEAVERFORD FALL 2008

. SAINT ANDREW`S COMUNITY CENTRE, MANITOBA, CA . HOLLAND CHILD CARE FACILITY, MANITOBA, CA . DGH OFFICE RENOVATION AND ADDITION, MANITOBA,CA . UNIVERSITY OF SASKATCHWAN NEW DAIRY RESEARCH --FACILITY, SASKATCHEAN, CA . RCMP OFFICE RENOVATION, PINAWA, MANITOBA
PROJECT MANAGER:

. HIGH SEAS FILM SET DESIGN, IN COLLABORATION WITH FILM STUDIES STU
DENTS AND OTHER ARCHITECTURE STUDENTS

SUMMER 2009

. STAGE DESIGN FOR PERSIAN MUSIC CONCERT

IN COLLABORATION WITH SIMA CHAVOOSHI AND SARA NAJI

SUMMER 2010

STAGE DESIGN FOR PERSIAN MUSIC NIGHT IN COLLABORATION WITH

SIMA CHAVOOSHI FALL 2009

. SELKIRK HOTEL AND RESTURANT RENOVATION . SAINT ANDREW COMUNITY CENTRE, MANITOBA, CA . DGH OFFICE RENOVATION AND ADDITION, MANITOBA,CA . RCMP OFFICE RENOVATION, PINAWA, MANITOBA

. PHOTOGRAPHY EXHIBITION , GOSA GALLERY, UNIVERSITY OF MANI---TOBA IN COLLABORATION WITH SIMA CHAVOOSHI

2007-2010

REAL RSTATE
BEING AN ACTIVE MEMBER OF WINNIPRG REAL ESTATE BOARD I HAVE BEEN WORKING FOR REALTY (2010) AS SALES REPRESENTATIVE.

ROYAL LE PAGE (2007-2009)

AND

MAXIMUM

WORK SAMPLE

SASSAN MIRKHANI

ADDRESS: UNIT 806, 2100 RUE SAINT MARC MONTREAL, QC, CANADA H3H 2G6 E.MAIL: SEYED.MIRKHANI@MAIL.MCGILL.CA PHONE: 1-514-692-6451

UNDERGRADUATE WORK

High Seas: A WALL FOR A MOVIE SET IN THIS STUDIO STUDENTS WERE ASKED TO DESIGN AND BUILD A FILM SET FOR A FILM BY STUDIES STUDENTS TITELED `HIGH SEAS`. THE STORY HAD A VERY STRONG FICTIONAL AND SURREAL THEME WHICH WAS TO BE ADDRESSED BY THE SET DESIGN. EACH STUDIO GROUP WAS ASSIGNED WITH A ROOM AND ITS FURNITURE DO DESIGN. STUDENTS WERE RESPONSIBLE FOR DEVELOPING THEIR IDEAS THROUGH ITERATIONS OF EXPLORATORY DRAWINGS AND MODELS WHICH WAS SUMMARIZED IN A ONE TO ONE SCALE BUILT PROJECT AT THE END OF THE TERM. I WAS RESPONSIBLE FOR THE DESIGNING A WALL FOR STEPHEN`S ROOM. STEFAN WAS THE MAIN CHARACTER OF THE PLOT WHO SUFFERED FROM SCHIZOPHRENIA. THE STRUCTURE OF THE WALL WAS ALSO TO REPRESENT A CITYSCAPE IN 1:200 SCALE. AUTHOR: SASSAN MIRKHANI

STUDIO 1

A HOUSE, A MUSEUM, A PERFORMANCE SPACE IN THIS STUDIO EACH STUDENT WAS ASSIGNED WITH A CHARACTER AS THEIR CLIENT. STUDENTS WERE ASKED TO EMPLOYE THE THEORY THEY DEVELOPED IN THE FIRST TERM TO FOR ME THE BASIS OF THEIR ARCHITECTURE , TO BE INHABITED BY THE CLIENT. THE ARCHITECTURE IS TO BE ACHIEVED THROUGH SERIES OF EXPLORATORY MODELS AND DRAWINGS USING DIFFERENT MEDIA. IT WAS HIGHLY ENCOURAGED TO HAVE MULTIPLE PROGRAMS WITHIN THE ARCHITECTURE. THE CHARACTER I DEVELOPED WAS AN ART COLLECTOR WHO EXHIBITS HIS COLLECTION IN HIS RESIDENCE. HIS WIFE IS A MUSICIAN WHO ALSO DOES HER PERFORMANCES IN THEIR RESIDENCE. AUTHOR: SASSAN MIRKHANI

STUDIO 2

ROBSON HALL BUIDLDING IN THIS FIRST YEAR BUILDING CONSTRUCTION COURSE STUDENTS WERE REQUIRED TO CHOOSE A BUILDING IN THE CAMPUS AND STUDY ITS STRUCTURE AND ASSEMBLY. SIMA AND I CHOSE ROBSON HALL BUILDING AND DID A THOROUGH ANALYSIS OF ITS STRUCTURE AND COMPONENTS THROUGH MEASURED DRAWINGS AND A SECTIONAL MODEL. AUTHOR: SASSAN MIRKHANI, SIMA CHAVOOSHI

CONSTRUCTION 1

PEMBINA HIGHWAY: A TERRAIN VAGUE THE FIRST STUDIO OF THE FINAL YEAR WAS FOCUSED ON WAYS OF RETHINKING OUR EVERY DAY EXPERIENCE OF THE CITY IN ORDER TO DEVELOP A THEORETICAL DISCUSSION OF OUR ENVIRONMENT THAT WOULD LEAD TO AN ARCHITECTURE PROJECT FOR THE SECOND SEMESTER. IN THIS TERM STUDENTS WERE ASKED TO PAY ATTENTION TO THE CITY BLOCK ADJACENT TO AN EVERYDAY ROUTE THEY TAKE AND TRY TO BETTER UNDERSTAND/ANALYZE THEIR RELATIONSHIP TO EACH OTHER AND TO THE PEOPLE EXPERIENCING THEM. THIS SHOULD GUIDE STUDENTS TO DEVELOP A THESIS PROJECT THAT RETHINKS SOME OF THE EXISTING URBAN CONDITIONS ADJACENT TO THAT EVERYDAY ROUTE IN A CRITICAL WAY. THE STUDIO FOCUSED ON FINDING ALTERNATIVE APPROACHES TO DEVELOPING PROPOSITIONS IN THE CITY THROUGH RESEARCH AND THEN ARCHITECTURE THAT INVESTIGATE THE WAY IN WHICH WE EXPERIENCE OUR CITY. THE STUDIO WAS CRITICAL OF THE ROLE THAT ARCHITECTURE PLAYS IN HE CITY IT PARTICIPATES IN, BY ESTABLISHING, EXCHANGING, PROVOKING, RENEGOTIATING ITS RELATIONSHIPS, , LOOKING BEYOND TYPICAL SINGULAR CLOSED SYSTEMS, BUT TO MORE POROUS FABRICS. AUTHORs: SASSAN MIRKHAN

STUDIO 3

URBAN DAIRY FARM, A METAPHORICAL DISPLACEMENT THE FINAL SEMESTER IN ENVIRONMENTAL ARCHITECTURE PROGRAM WAS ABOUT TRANSLATING THE THEORETICAL INVESTIGATIONS OF THE FIRST TERM INTO AN ARCHITECTURAL INTERVENTION. AS ALWAYS, IT WAS UP TO THE STUDENTS TO COME UP WITH A PROGRAM AND A SITE THAT RESPONDS TO THEIR THEORETICAL CONCERNS. MY PROPOSED ARCHITECTURE WAS A DISPLACED DAIRY FARM LOCATED IN AN ABANDONED LAND IN PEMBINA HIGHWAY DISPLACING A RURAL CONDITION INTO AN URBAN CONTEXT. THIS WAS A RESPOND TO THE METAPHORICAL ASPECT OF DISPLACEMENT DISCUSSED IN PREVIOUS CHAPTER. THE RATIONAL BEHIND CATEGORIZING IT AS A METAPHORICAL DISPLACEMENT IS THAT THE PROGRAM IS INSPIRED BY THAT OF THE ABANDONED CONDITION I WAS STUDYING LAST TERM . THE ARCHITECTURAL TYPOLOGY OF THE BUILDING IS ALSO COMES FROM THAT OF THE WAREHOUSE IN SOUTH POINT DOUGLAS AND THE CENTRAL GRAIN FACTORY. IN THE DAIRY FARM I PROPOSED EVERY ONE IN THE CITY COULD OWN A COW. THE DESIGN FOCUSED ON HUMAN AND ANIMAL INTERACTION BOTH AT THE HUMAN SCALE AND THE CITY SCALE. AN ARCHITECTURE THAT PROMOTES THE WELL BEING OF ANIMAL BY HAVING THE PUBLIC ENGAGE IN AND CONTROL THE THE PROGRAM. THE DAIRY FARM FUNCTIONS AS AN INDUSTRIAL FACILITY AND A PUBLIC PARK AS WELL. THE OWNERS CAN MAKE PROFIT FROM THEIR COWS MILK PRODUCTION. AUTHOR: SASSAN MIRKHANI

STUDIO 4

DISPLAY MOUNT IN THIS PROJECT STUDENTS WERE ASKED TO DESIGN AND BUILD A FULL SCALE DISPLAY MOUNT FOR ARCHITECTURAL MODELS AND DRAWINGS EXHIBITED IN THE PROJECT REVIEWS. HE DISPLAY MOUNT HAS TO ACCOMMODATE MODELS AND DRAWINGS IN DIFFERENT SCALES AND SIZES. STUDENTS WERE SUPPOSED TO EXAMINE AND UNDERSTAND TECTONIC PROPERTIES OF DIFFERENT MATERIALS AS WELL AS THE TOLERANCES THAT ARE ESSENTIAL TO THE FINAL PRODUCT IN ORDER FOR IT TO BE FULLY FUNCTIONAL . AUTHORS: SASSAN MIRKHANI, SIMA CHAVOOSHI, THILINI SAMARASEKERA

CONSTRUCTION 2

DAIRY VILLAGE AFTER FINISHING THE ACADEMIC STUDIOS I REALIZED THAT THE IDEA OF URBAN FARM I HAD BEEN STUDYING IN THE last TERM HAS A LOT MORE POTENTIALS THAN I ACCOMPLISHED DURING THE SHORT SCHOOL TIME so I DECIDED TO ADD MORE LAYERS TO THE PROJECTS. THIS WAS PARTLY A RESPOND TO THE CRITICS of THE PROJECT AND PARTLY BECAUSE OF NEW IDEAS I CAME UP WITH AFTER TAKING A BREAK. IN THE NEW ITERATION OF THE PROJECT THE INDUSTRIAL LEVEL OF THE CITY, WHICH IS MAINLY THE BELOW GRADE LEVEL, WILL REMAIN SOME HOW THE SAME. HOWEVER THERE IS A STRONGER EMPHASIS ON THE HUMAN/COW INTERACTION . THIS IS DONE THOUGH ADDING VARIOUS OTHER PROGRAMS TO THE PROJECT; FROM RESIDENTIAL COMPLEXES AND DAIRY PARKS AND RESTAURANTS TO RESIDENTIAL UNITS ADJACENT TO THE STABLES AND PARLORS. THIS PROJECT Attempts TO examine THE EXISTING PRACTICE OF DAIRY FARM AND rethink A RESIDENTIAL BLOCK OF THE CITY can be programed. AUTHOR: SASSAN MIRKHANI

STUDIO 4+1

GARDUATE WORK

PROGRAMING THE GAPS GRAND CENTRAL TERMINAL, NEW YORK IN ORDER TO ACTIVATE THE SPATIAL AND TEMPORAL GAPS IN THE PROGRAM OF THE GRAND CENTRAL TERMINAL, NEW YORK I INTRODUCED A SERIES OF MODIFIED TRAIN CARS THAT OFFER EPHEMERAL PROGRAMMATIC OPPORTUNITIES WITH DIFFERENT EXTENT AND DURATION. LOOKING AT THE PLAN OF THE TERMINAL IT WILL FORM AN LCD LIKE SURFACE WITH DIRECTIONAL PIXELS. USING THE MODIFIED CARS THESE PIXELS CAN BE TURNED ON OR OFF IN ORDER TO CREATE DIFFERENT SPATIAL AND PROGRAMMATIC TYPOLOGIES IN THE TERMINAL . TEMPORARY PROGRAMS THAT ARE ACTIVATED IN RESPOND TO PATTERNS OF USE, RECOGNIZED BY THE INTELLIGENCE OF THE ARCHITECTURE. IT CAN ALSO ACCOMMODATE A MORE CONVENTIONAL AND CONTROLLED PLANNING OF THE SPACE. WORKING IN SECTION AND GETTING MORE SPECIFIC ABOUT THE PROGRAM OF THE INTERVENTION I CHOSE THE METLIFE BUILDING AND NUMBER 230 PARK AVENUE AS THE EXISTING BUILDINGS TO INFORM OUR ARCHITECTURE WITH. IT WILL BENEFIT FROM THEIR EXISTING INFRASTRUCTURE IN ORDER TO ACTIVATE OUR PROGRAMS BELOW THE GROUND. I WAS ALSO INTERESTED IN CLAIMING SOME OF THE EXISTING UNUSED SPACES IN THESE TWO BUILDINGS. THE ARCHITECTURE IS A SERIES OF INTERVENTIONS INTRODUCED TO GRAND CENTRAL TERMINAL. EXISTING ELEVATORS OF THE TWO BUILDINGS ARE USED AS THE MAIN MEANS OF ACCESSING THE CARS FROM UPPER LEVELS. THEY ARE ALSO THE ATTRACTION POINTS AROUND WHICH THE PROGRAMS ARE FORMED. THERE ARE ALSO OPENINGS TO THE STREET LEVEL TO FACILITATE THE INTERACTION BETWEEN LEVELS INTERACTION AND ALSO TO BRING NATURAL LIGHT IN. THE MAIN SOURCE OF LIGHT IS THE NATURAL LIGHT BROUGHT DOWN FROM THE ROOFTOP USING FIBRE OPTIC CABLES. THE LIGHT IS THEN DIFFUSED USING REFLECTIVE PARABOLIC SURFACES THAT ALSO HELP US TO EXTEND THE VERTICAL BOUNDARY OF THE SPACE CREATING A MORE PLEASANT ATMOSPHERE UNDERGROUND. ROOF TOP OF METLIFE BUILDING IS WHERE WE HARVEST THE LIGHT USING THESE LIGHT COLLECTORS. THE LOWER ROOF TOP IS WHERE WE HAVE THE PUBLIC WATCHING THE MOVIES IN A DIFFERENT SCALE PROJECTED ONTO THE METLIFE BUILDING. AUTHOR: SASSAN MIRKHANI

STUDIO 1

10:15 AM
CURREN PROGRAMS

10:45 AM
UPPCOMING PROGRAMS

CURREN PROGRAMS

UPPCOMING PROGRAMS

BALUSTRADE FOR MCGILL LIBRARY OUR BALUSTRADE DESIGN WAS CONCEIVED BASED ON A HANDFUL OF GUIDING PRINCIPLES. THE FORM SHOULD BE AS EXPRESSIVE AS POSSIBLE, OF ITS STRUCTURAL AND PROGRAMMATIC FUNCTION. WE DESIRED TO ACHIEVE THIS WITHIN AN ELEGANT, UNDERSTATED SCULPTURE COMPLIMENTARY TO THE TRADITIONAL ARCHITECTURE THAT IT WILL BE AN ADDITION TO. IT MUST ALSO MINIMIZE OBSTRUCTION OF VIEWS TO THE FIELD FROM THE TERRACE AND LIBRARY INTERIOR, WHILE MAINTAINING A SEATING ORIENTATION PRIMARILY TOWARDS THE FIELD. AT THE START OF THE DESIGN PROCESS, IT WAS DETERMINED THAT THIS WILL BE ACHIEVED WITH A MASSING THAT IS CANTILEVERED AT A LEVEL LOWER THAN THE TERRACE PATH. TO ELIMINATE THE PRESENCE OF AN INTRUSIVE HORIZONTAL STRUCTURAL ELEMENT, THE VERTICAL MEMBERS MUST BE CANTILEVERED FROM BELOW. THE STRUCTURE, WHILE THICKEST AT FOOT LEVEL, SHOULD FADE TO A MINIMUM AS IT REACHES THE EYE LEVEL OF A SEATED PERSON. A SINGLE, PURE LANGUAGE MUST BE SHARED BY THE FLOOR, SEATING AND RAILING COMPONENTS; AT THE SAME TIME IT NEEDED TO BE RESPONSIVE TO MORPHING REQUIREMENTS FOR STRUCTURE AND TRANSPARENCY. FROM THIS, THE LANGUAGE OF MERGING MEMBERS IS DERIVED. THE REGULAR, LINEAR GEOMETRY OF THE EXISTING TERRACE WITH ITS DEMOCRATIC, NONHIERARCHICAL SPACE LENDS ITSELF TO THE USE OF REPEATING DESIGN ELEMENTS ALONG ITS ENTIRE LENGTH, EXPRESSING AN INHERENT ECONOMY OF SCALE. EACH WING SPARSELY-SPACED STRUCTURAL MEMBERS IN FAVOR OF THIN, INDIVIDUALLY-WEAK PIECES WAS CONSISTENT WITH THE RESPONSIVE TEXTURE DESIRED AS WELL AS OPENS NUMEROUS POSSIBILITIES IN TERMS OF MATERIAL CHOICE. AN LANGUAGE OF INTERLOCKING L AND Z SHAPED STRUCTURAL MEMBERS ENABLE THEIR DENSE ARRANGEMENT ON PANELS TO BE LASER CUT, MINIMIZING WASTE TO ONLY 5% OF THE MATERIAL SURFACE. THE SKELETAL, FINE-GRAIN AESTHETIC THAT RESULTED REMINISCENT OF GOTHIC TRACERY, WITH THE FLEX OF A STRING INSTRUMENT WAS THUS, A FITTING, INTELLECTUAL IMAGE WITHIN ITS ARCHITECTURAL AND ACADEMIC CONTEXT. AUTHORS: SASSAN MIRKHANI, SIMA CHAVOOSHI, CHARLESWONG, JEAN-ROCH MARION & MARTIN CHOW

ADVANCED CONSTRUCTION

FUTURE OF LIBRARIES REALIZING A STRONG NEED FOR HAVING A CULTURAL NODE IN NDG, BEING ADJACENT TO THE ANALOG INSTITUTE AND BEING INTERESTED IN THE IDEA OF A SELF SUSTAINING LIBRARY, WHAT I AM PROPOSING IS A LIBRARY THAT ACCOMMODATES PUBLISHING AND PRINTING FACILITIES ON DEMAND BASIS. PRINT ON DEMAND PUBLISHING MAKES THE PUBLICATION CHAIN SHORTER BY ELIMINATING ALL THE IN-BETWEEN PROCESSES FROM CREATION OF AN INTELLECTUAL PROPERTY TO ITS CONSUMPTION. THE NEW LIBRARY WILL BE A PLACE FOR NEW AUTHORS TO DISCUSS, WRITE, EDIT , PRINT AND FINALLY SELL THEIR INTELLECTUAL PROPERTIES WITH LESS COST AND RISK. PROGRAMMATICALLY THE BUILDING CREATES A LOOP INSPIRED BY THE SHORTENED PUBLISHING CHAIN. A LOOP FROM CREATION OF THE INTELLECTUAL PROPERTY TO ITS PRODUCTION AND CONSUMPTION. HOWEVER MY GOAL WAS TO ELIMINATE THE HARD EDGES OF EACH PHASE TO ALLOW OVERLAPS AND ENCOURAGE PUBLIC ENGAGEMENT . THE FORM THEN BECAME A TRANSPARENT TRANSLATION OF THIS ENDLESS PROCESS . IF YOU, AS WRITER, ENTER THE BUILDING FORM THE NORTH EAST DOOR YOU HAVE THE OPTION OF STAYING ON THE GROUND FLOOR AND USING THE COMPUTER STATIONS ALONG THE PERIPHERY WALLS TO ACCESS THE DIGITALIZED CATALOGUE OR GO TO THE BOOK STORE ON YOU RIGHT. YOU MIGHT INSTEAD TAKE THE STAIRS TO GO TO WHAT I CALL THE READING TERRACES WHERE YOU CAN READ, WRITE , GATHER AND DISCUSS YOUR WORK WITH OTHER WRITERS. YOU ALSO HAVE ACCESS TO THE ANALOGUE COLLECTION ON YOUR LEFT. HOWEVER, THE ONLY ANALOGUE BOOKS BEING KEPT ARE THE ANTIQUARIAN COLLECTION , THE BOOKS WITH HIGH CIRCULATION, AND THE ONES THAT ARE PRODUCED IN THE LIBRARY. WHEN YOU ARE DONE WRITING YOU GO TO THE SECOND LEVEL WHICH GIVES YOU ACCESS TO THE PRINTING FACILITY. YOU PRINT THE PAGES, TAKE THE ELEVATOR AT THE END AND GO BACK TO THE GROUND LEVEL TO BIND THEM AND DO THE FINISHINGS. NOW THAT YOU HAVE THE BOOK YOU MIGHT WANT TO YOU GO THE CAFETERIA ,HAVE A COFFEE AND TAKE SOME TIME TO MAKE SURE YOU DIDNT MAKE A MISTAKE . YOU CAN ALSO GO TO THE COURT YARD OR THE ROOF TOP. IF EVERYTHING WAS FINE YOU TAKE THE BOOK TO THE BOOK STORE AND HOPE SOMEONE WILL BUY IT AND GO BACK TO WHERE THE LOOP STARTED TO DO YOUR NEXT BOOK. AND OF COURSE GOING THROUGH THIS PROCESS YOU HAVE THE PUBLIC, WHO IS ENJOYING THE LIBRARY IN A MORE CONVENTIONAL SENSE WITH YOU AND INSPIRING YOU. AUTHOR: SASSAN MIRKHANI

STUDIO 2

Ground Floor 1:300

First Floor 1:300

Second Floor 1:300

Third Floor 1:300

HEALTHCARE STUDIO

PROSTHETIC ARM LOOKING AT THE CEILING OR REDESIGNING THE PATIENT EXPERIENCE OF THE HOSPITAL BED ? WHAT DOES IT FEEL LIKE BEING A PATIENT, LYING IN A HOSPITAL BED, OR BEING TRANSPORTED IN A WHEEL CHAIR? WHAT IS THAT PATIENT SEEING NO LESS FEELING? HOW DOES DESIGN INFLUENCE EXPERIENCE AND HOW CAN WE USE PATIENT EXPERIENCE TO INFLUENCE DESIGN? AUTHOR: SASSAN MIRKHANI

PROJECT 1

HYPNOTIC SPACE THIS PROJECT IS A PERSONAL TAKE ON AN ARTICLE BY NATALIA SABOTINCIC CALLED ANAESTHETIC INDUCTION: AN EXTRUSION INTO THE WORLD OF VISUAL INDIFFERENCE. IN THIS PAPER SHE COMPARES THE FOUR STAGES OF ANAESTHETIC PROCEDURE TO TWO OF MARCEL DUCHAMPS WORKS: THE LARGE GLASS AND ETANT DONNES OR THE GIVEN. THESE TWO PROJECTS ARE DUCHAMP`S INVESTIGATION ABOUT PERSPECTIVE AND ANAMORPHOSIS AS A WAY OF ACHIEVING A FORTH DIMENSION THROUGH SPACE . A FOURTH DIMENSION THAT DISTORT THE REALITY OF ONES PERCEPTION CARRYING THE SPECTATOR INTO AN ESTATE OF INDETERMINACY AND DISORIENTATION BY INDUCING AN ESTHETIC UNCONSCIOUSNESS. OUR ARCHITECTURE ACCOMMODATES THE FOUR STAGES IF ANAESTHESIA AND THE ABORTION PROCEDURE. HOWEVER IT IS MORE ACTIVE IN THE FIRST TWO STAGES AND BECOMES MORE PASSIVE DURING THE THIRD AND FOURTH PHASE. ONE HOUR BEFORE THE OPERATION PRE-ANAESTHETIC MEDICATION ALLAYS THE FEAR OF OPERATION , PRODUCING A CALM AND WELL RESTED PATIENT. THE MEDICINE REPLACES ANXIETY WITH CARE-FREE EUPHORIC STATE OF MIND. THIS WILL HAPPEN WHEN THE PATIENT ENTERS THE BUILDING FORM THE HILLSIDE ENTRANCE WHILE BEING ADMITTED. THE PATIENT USES THE SAME ENTRANCE AS THE OTHERS TO ASSURE CONFIDENTIALITY. STAGE ONE: THE PATIENT THEN WILL BE DIRECTED TO THE ELEVATOR LOCATED RIGHT AFTER THE LOBBY WITH EXCLUSIVE ACCESS TO THE ABORTION CLINIC. HERE IS WHEN THE SURREAL EXPERIENCE STARTS: THE PROCEDURE BEGINS WITH INDUCING AN AESTHETIC UNCONSCIOUSNESS . ANAMPRPHOSIS UPSETS THE STABLE ORIENTATION OF ORDER, RELEASING ELEMENTS FROM THEIR VISIBLE LIMITS OR APPEARANCE AND THROWING ALL INTO DISORIENTATION. THE INTENTIONALLY SLOWED DOWN ELEVATOR ALONG WITH THE HALLWAY WITH OBSTRUCTED WINDOWS CREATE A 50 METRE PASSAGE WITH THE ARCHITECTURE ACTING UPON PATIENTS SENSE OF SIGHT, HEARING AND SMELL AND CULTIVATING THE POWERS OF OBSERVATION TO UTMOST. REPETITION AND STRONG PERSPECTIVE ARE ALSO KEY ELEMENTS IN BRINGING THE PATIENT INTO A LEVEL OF AESTHETIC UNCONSCIOUSNESS . DEPENDING ON THE CONDITION OF THE PATIENT, CURRENT MEDICAL PRACTICE CONSIDERS THIS PROCEDURE TO BE THE SAFEST AND MOST DISCERNING MEANS OF RADICALLY ELIMINATING `TRANSFERABLE MEMORY IMPRINTS. WHICH IS BASICALLY OUR GOALS. THE HOPE IS TO RELEASE THE PATIENT EVENTUALLY FROM OBSTACLE OF LOGIC AND TASTE, EXTENDING HER HORIZON INTO THIS STATE OF INDETERMINACY. TO ACHIEVE THE DEGREE OF AESTHETIC UNCONSCIOUSNESS NECESSARY TO REACH A STATE OF INDIFFERENCE ANAESTHETIC CHEMICALS WILL BE ADMINISTERED. STAGE TWO: AFTER PASSING THE HALLWAY THE PATIENT WILL FIND HERSELF IN A ROOM WITH A BED IN IT. SHE LIES DOWN ON THE BED AS SHE WAS INSTRUCTED IN THE LOBBY. AND THE SECOND INHALATION HAPPENS. THE SECOND STAGE IS A LIMBO BETWEEN THE START OF ANALGESIA AND THE BEGINNING OF COMPLETE MUSCLE RELAXATION. OCCASIONALLY GESTICULATION, WORDS OR ATTEMPTS TO MOVE ARE MADE. LAUGHING OR SCREAMING MAY OCCUR AS WELL. THESE ARE VOLUNTARY ENDEAVOURS GUIDED BY INSTINCT RATHER THAN REASON. THE PATIENT CAN OFTEN BE QUIETED BY WORDS AND WILL DO AS SHE IS TOLD. SO THE PATIENT IS BEING MONITORED AND WORDS WILL HELP HER TO CALM DOWN IF NEEDED. STAGE THREE: THE FLOOR GOES DOWN TO THE LOWER LEVEL WHERE THE OPERATION ROOM IS LOCATED. SURGICAL BREATHING BECOMES QUITE RHYTHMIC AND SOMEWHAT RAPID. THE PATIENT MAY MOAN BUT NEVER WITH ARTICULATED SOUNDS ONLY GROANS AND FLINCHES. ABORTION PROCEDURE TAKES PLACE. STAGE FOUR : THIS STAGE IMMEDIATELY PRECEDES DEATH AND TO BE AVOIDED. THE HEART STILL BEATS BUT THE PATIENT STAYS ALIVE ONLY BY ARTIFICIAL RESPIRATION. AND IF DISCONNECTED AFTER 25 MINUTES SHE IS BACK TO NORMAL. THE FLOOR GOES BACK UP WHERE SHE WILL FIND HERSELF IN A ROOM WITH AN UNOBSTRUCTED WINDOW LOOKING AT MOUNT ROYAL FOR THE FIRST TIME SINCE SHE STARTED THE JOURNEY. SHE TAKES THE NEW ELEVATOR AND GOES BACK TO THE REALTY AGAIN. AUTHORS: SASSAN MIRKHANI , SIMA CHAVOOSHI

PROJECT 2