Portfolio

Sara Faezypour Design Projects, Writings & Photography

Sara Faezypour

B.Sc. in Architecture, MA(A A) in History and Critical Thinking 1988 Born in Tehran, Iran Childhood in Toronto, Canada until second year of elementary school Bachelor of Science in Architecture at the Faculty of Fine Arts of the State University of Tehran TuDelft International Seminar and Workshop Transition between Buildings and The City through-out Consumption Patterns Private Class in History of Art at Aria Art Gallery Tehran Master of Arts in History and Critical Thinking at the Architectural Association London, United Kingdom Photography Workshop by Erieta Attali Intensive German Language courses at Goethe Institut Languages: Fluent in Persian and English, Intermediate in German (B2) Digital Tools: Sound knowledge of AutoCad, SketchUp, Photoshop and InDesign, Basic knowledge of 3DMax, and the Microsoft Office suite Interests apart from architecture: Contemporary and Traditional Art, Art History, Modern Philosophy, Photography

2007-11 2010

2010-11 2011-12 2012 2012-13 Email: sara.faezy@gmail.com Mobile: 0176.97909884 Sara Faezypour Belgradstr. 22 80796 Mnchen

Portfolio

Sara Faezypour Design Projects: 1. Community School - Thesis project 2. High School of Fine Arts for Girls 3. Low Density Housing Writings: 1. Two Opposites Meet 2. Re-thinking Ecology in Architectural Discourse 3. The Glulam Wood Cells designed by Werner Sobek Non-Places - Architectural Photography

Community School - Thesis project 2011

An educational institute for different generations

Community School - Thesis project 2011

Integrating the characteristics of the site

The gallery as mediator between the different privacies

Community School - Thesis project 2011

Level 1

Level 2

Level 3

Community School - Thesis project 2011

View of the roofscape

Community School - Thesis project 2011

The Gallery with the classrooms in the back

Community School - Thesis project 2011

School corridors

High School of Fine Arts for Girls

Site Plan 1:1500

High School of Fine Arts for Girls

High School of Fine Arts for Girls

Ground Florr 1:750

Upper Floor 1:750

Phased and adaptable redevelopment within a fine grained existing fabric

Low Density Housing

Construction phase one - exemplary floor plans

Low Density Housing

Ground Floor

1st. Upper Floor

2nd. Upper Floor

Low Density Housing

Courtyard perspective

Low Density Housing

Plan Type 1 Two Bedrooms

Plan Type 2 Three Bedrooms

Plan Type 3 Three Bedrooms

Plan Type 4 Four Bedrooms

First Floor Plan Type 5 Two Bedrooms

Second Floor

First Floor Plan Type 6 Five Bedrooms

Second Floor

Abstract of the academic paper for The Post-Eurocentric City lecture series by John Palmesino Two Opposites Meet: Reading the City through the Dialogues between Kublai Khan and Marco Polo
City in the passage from modernity to postmodernity, or to avoid dealing with such general notions, city in the transition from an epistemological dominant to an ontological one in the words of Brian McHale raises questions such as how it can be read from the vantage point of the individual as a citydweller. How has the changes in the approach to knowledge influenced the process of understanding the city and its transformations? The aim of this essay is to examine the meeting of two opposite points in perceiving and understanding the city as an entity. Each section of the essay starts with an extract from Italo Calvinos Invisible Cities which are selected among the dialogues that takes place between the characters of the book for the purpose of the argument. The dialogues will not be directly analyzed whereas they function as gestures that may raise certain issues or as evidence to strengthen the argument. The first part deals with the transitional phase in relation to the fictional setting of the novel by understanding the forms of such texts. Furthermore, the boundaries between singular reality and plural realities are put into question. In the next part, the two opposing characters in the novel are analyzed based on their contrasting approaches to knowledge. The matters that are considered here are whether its possible to understand the city according to a norm and as a fixed notion, or the counter argument is more feasible as incongruities, complexities, expectations and anticipations are also aspects of the city that should not be dismissed. The next part focuses on perceiving the transformations in the city through acknowledging the possibility of different realities to coexist in the context of rhizome. Instead of being a rigid structure, reality can be conceived as a network of possible connections. Taking everything into consideration, the concluding part draws the attention to the citydweller and the significant role he or she has in mapping the city.

City in the passage from modernity to postmodernity, or to avoid dealing with such general notions,
Full Version http://goo.gl/ RR3MH

Mike Nelson: I, IMPOSTOR (2011) Installation, British Pavilion; Venice Biennale 2011. Photo by Cristiano Corte

Abstract of the academic paper for the Forms of Contemporary Architecture and Agency seminars by Douglas Spencer Re-thinking Ecology in Architectural Discourse Contemporary architecture is deeply intertwined with other fields of knowledge and science. Among the many fields, ecology and sustainability are topics commonly used, especially when architecture is seen as mediation between man and nature. Sustainability and ecology, however, have already lost their credibility and influence as they have been overtly used in almost any practical discourse in architecture, raising so many ethical, political, economical, environmental, etc. issues. They are terms that are capable of covering a wide range of meanings and implications without bearing any responsibility. The problem with these terms arose when architects began realizing them as potential means of validating their design in an attempt to secure their menaced position. As the ecological aspects were never practically integrated in their design, as a result, many projects remained unbuilt, being either utopian or superficial with apparent solutions. However, it was not long until they started to lose their grip in that field as well when the problems with the environment and ecological thinking became a global concern. Now, sustainability is an integral part of any project with or without an architects involvement. This essay will look into the bond between man and nature in relation to ecology by looking into the writings of scholars such as Adorno with his concept of second nature, Mcharg believing that the very essence of nature is its vagueness, iek criticizing the holistic behavior towards ecology, regarding it the new opium for the masses. Further on, by pointing out the problematic aspects of nature and its ambiguous essence, the reasons for figures such as Morton to have suggested abandoning nature altogether will be discussed. In the end, it will be concluded that ecology has to be reinterpreted in architectural discourse through the readings of Mark Wigley, emphasizing on the responsibility of the architect and how his or her role must be revived.

City in the passage from modernity to postmodernity, or to avoid dealing with such general notions,
Giuseppe Penone. Rovesciare i propri occhi (Giuseppe Penone. To Turn Upside Down Your Own Eyes), Turin 1970 gelatin silver print 12 x 16 (cm. 30,5 x 40,5)

Full Version http://goo.gl/ s4i3A

Abstract of the academic paper for FABRICATIONS Lecture series and theory workshop by Pedro Ignacio Alonso The Glulam Wood Cells designed by Werner Sobek With the dramatic rise of technological advances in the building industry, the architects are obliged to be in close collaboration with the engineers to say the least, but what is more, is figures such as Werner Sobek who has managed to articulate his own authority in the business by specializing in both fields of engineering and architecture. The idea of employing technology is not a new proposition and not at all restricted to the building industry whereas it dates back to as early as the eighteenth century. The whole of society rests upon industry. is a quote from Saint-Simone that Giedion refers to in his book, Building in France as evidence from that era. As far as architecture was concerned, Giedion himself believed that it [technology] has been drawn into the current, which is clearly indicating the time when buildings, made solely by engineers, were on the rise, jeopardizing the elitist role of the architect. The role of the architect was becoming ever more inconspicuous. One of the attempts to restore the threatened position of the architect was made by Walter Gropius. What he put forward was that the architect must take active part in the cooperative teamwork between him, the engineer, the scientist and the builder. Today, we can see Gropius idea put into practice in Werner Sobeks office. Teamwork can only function on the basis of partnership. In other words, maintaining a good relationship with your partners allows one to have a voice. Trained in both disciplines, Sobek has the advantage of building his own designs and be held responsible for it. As a university professor his teaching methods is based on training the students in different fields ranging from bone structures to aircraft design. What is interesting is that his multi-disciplinary approach is close to traditional methods where every architect had to be not only an expert in the aesthetical aspects of the building but the underpinning science behind it. Moreover, with a focused eye on the future, in his design, Sobek is concerned with the sustainability and economy of the building; therefore, when designing a component he pays close attention that the material is environmentally friendly, causing minimum harm possible. One example of his innovative components is the

View into the Trumpf Canteen in Ditzingen by Barkow Leibinger Architects, 2008. In collaboration with Werner Sobek.

glulam wood cells he designed for the roof of the Trumpf canteen in collaboration with Barkow Leibinger architects. Seen from the plan view, the non-regular pentagon roof consisting of nine triangular grids, covered by a glulam structure, is a flat surface with seemingly random skylights. However, from the roof plan we are faced with quite the opposite. The ceiling is composed of wood cells joined together with steel spindle-plates that spread through the steel frame structure. The cells not only vary in depth according to the load bearing structure and day lighting, but they are also designed to perform as skylights, acoustic panels or artificial lighting, which is what makes the roof a uniquely hybrid structure. What makes this roof structure significant is that it was inspired by close biological studies on plant cells. Many professions had gathered together to make the piece functional, practical, and sustainable. Moreover, adhering to the biological structure in plants, the wood cells create a harmonious whole without losing their formal and functional integrity. Furthermore, as seen in the diagrams above, by their very own nature, the components can be joined together in various ways creating diverse shapes according to the requirements of space. It seems quite far-fetched to suppose that every student should opt for mastering in different fields of design like Sobek because not everybody is capable of realizing that challenge, but what seems important for architects to regain the role they merit is aiming for a closer connection between architecture and other sciences including technology. In other words, experts from different professions should share their knowledge to reach a broader horizon in the future.

Analytical drawings of the joint components and the load bearing structure

Non-places - Architectural Photography, London