Architect and Construction Project Manager at Tabiat Zendeh laboratories University Professor
I was born in 1986 in Tehran. Since I was a child, I had a special interest in Arts, so I started Designing and painting at very young age. As I grew up, I followed my passion for art and I am currently under the influence of Cubism. I played basketball professionally as a teenager and I was a member of the “Payam” basketball team. I sometimes played tennis as well. I went to Montazeri high school located in Andisheh St. in Tehran.
After finishing high school, I got attracted to Architecture. I studied Architectural Engineering for my Bachelor’s Degree at Yazd University. I continued my higher education and obtained my Master’s degree as the top student, in Architectural Engineering at Islamic Azad University, Science and Research Branch in Tehran. I continued my studies and obtained my Doctorate Degree from Qazvin Islamic Azad University, in Qazvin.
Since the late 2000s, I pursued Architectural Designing in industrial, educational, residential, organizational and commercial environments more professionally. I worked with famous Engineering Organizations such as Naghsh. Since 2011, I pursued Alternative Building Methods and Project Management more professionally. I co-operated with the Middle East’s biggest contractor, in both executive and management fields.
During all these years, I have been a member of Iranian Institute of Architects and Tehran Construction Engineering Organization, and I have acted as a consultant in numerous governmental organizations and private companies. Additionally, I am the Islamic Azad University’s Professor in Architectural Engineering. I also conducted some researches for the “Iran’s National Elites Foundation”.
The two most outstanding projects that I have participated in are “The largest Vault in the Middle East” in Mosalla, Tehran, and designing and constructing “the largest Cosmetic Factory in the Middle East” with Tabiat Zendeh’s (Cinere) ownership. Since 2012, I pursued Architecture in research fields more professionally and I managed to publish my Literatures in International Journals (ISI) and Domestic Conferences.
You can find my completed courses in Portfolio section
My services are delivered with years of experience in all the areas below
Project management is planning and project control in a time frame, precise pricing and quality towards creating its precise results. Project management consists of planning, organizing, guiding and supervision and by using the resources properly; it tries to deliver the specified and expected results at an agreed expense in the correct time. There are a number of approaches to organizing and completing project activities, including: phased, lean, iterative.
Architecture means offering the best solution, whether using past solutions, or creating new solutions for any purpose. Architecture is the art and the science of construction design and other physical structures. Architectural design is essentially the creative use of mass, space, texture, light, shadows, materials, plans and elements of planning such as cost, manufacturing and technology in order to achieve aesthetic, functional and often artistic goals.
I have presented numerous scholarly publications in Domestic and International Conferences, I have published a book and I also conducted researches for the Iran’s National Elites Foundation with titles:”Instructions on how to use modern materials by using modern construction techniques and technologies.” and “Studying modern construction methods in worn out residential textures with an inactive defense approach”.
Pablo Picasso’s 1907 painting Les Demoiselles d’Avignon has often been considered a proto-Cubist work. Georges Braque’s 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called ‘Salle 41’; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.
But “this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists,” wrote the art historian Christopher Green: “Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911.
The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.
whom guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.
They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier’s studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.
Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as “ignorant geometers, reducing the human body, the site, to pallid cubes. At the 1910 Salon d’Automne, a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude), which was subsequently reproduced in both Du “Cubisme” (1912) and Les Peintres Cubistes (1913).
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg.
Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson’s concept of duration—had now been vacated, replaced by a purely formal frame of reference.
Crystal Cubism, and its associative rappel à l’ordre, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture.
After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.
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