Manifest

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Arxe architecture studio was founded in 2011 by two alumni of university of Tehran's Fine Arts' college, architecture department. It has been working as a member of Arxe Co-Op since 2012 in cooperation with newly founded Urban planning studio and Graphic studio. Arxe has accomplishedseveral design and researchprojects in a variety of scales, some of which has been successfully constructed and some other have won awards in different limited or public competitions.

Arxe considers design a creative, cooperative procedureand intends to try a collaborative design process with shared benefit and intellectual property and a spirit of cooperation ona free and flexible platform. Arxe considers Architecture inseparable from its environmental and social context and thus defines the mission of architecture as responding to and affecting the context. Arxe tries to create a process that employs "design thinking", problem solving techniques, and cutting-edge technology to flourish the capacities of design context.
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mail: info@arxecoop.com

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Architecture Manifest

استودیو معماری آرخه در سال 1390 توسط دو تن از فارغ التحصیلان معماری دانشکده هنر های زیبا دانشگاه تهران تاسیس شد که از سال 1391 با تشکیل استودیو شهرسازی و استودیو گرافیک آرخه به عنوان عضوی از گروه آرخه فعالیت میکند. آرخه در طول فعالیت حرفه ای خود پروژه های مطالعاتی و طراحی متعددی را در مقیاس های متنوع به انجام رسانیده است. برخی از این پروژه ها به مرحله اجرا رسیده و برخی دیگر در رقابت های محدود و عمومی حائز رتبه گشته و مورد تقدیر قرار گرفته‌اند.


آرخه طراحی را فرآیندی خلاقه و گروهی می‌داند و در صدد است روند طراحی جمعی را با منافع مادی و معنوی مشترک و روحیه همیاری در پلت‌فرمی آزاد و انعطاف‌پذیر محک بزند.آرخه معماری را از بستر اجتماعی و طبیعی آن جدایی‌ناپذیر می‌داند و بر این اساس رسالت معماری را پاسخدهی و تاثیرگذاری بر آن تعریف می‌کند. آرخه به دنبال خلق فرآیندی است که توسط "تفکر طراحی"، روش های حل مسئله و فن‌آوری روز ظرفیت‌های بستر طراحی را شکوفا کند.

Architecture Projects

Artman Kids

Tehran
1394

  • Commercial
  • 47 m2
  • 2nd Place in 16th Memar Award
  • 1st place in 8th Iran's interior design award

This project is the renovation of a retail unit for Artman Kids in a commercial complex. The purposes of the design is accomplished by providing special requirements for a well-known Zanjan brand of shoe for kids. Design and construction of this project took 3 months in the summer of 2015.

previous state
small shop was served as a catering unit before the interventions. It had a considerable height and there was a mezzanine floor that was connected to the ground floor through a spiral metal stairs. The whole area was generating a single space unit in which lack of services and storage areas were absolutely comprehensible. These deficiencies had obliged the former users to exploit every single bit of space from every cramped corner in which despite creating a single whole it was not coherent, systematically.

There were also some associating potentials that had to be taken into consideration. The lofty roof near the entrance could be used for some installation and short height of the part behind, was appropriate to be designed in the scale for children. This difference in height let us create a diverse while single space. The building is located in a safe residential area in Zanjan in which the other stores such as clothes shops appropriate for children is also situated in the area as well.

Design idea and development
The design of Artman kids store is centered around the idea of using space as a game. In the primary stages of design we analyzed client’s opinion about the future of Artman kids. Then we designed alternatives from various points of view. We considered psychology of children in development stages and studied children’s behaviors in the spaces. After several sessions of team discussion and overviewing with the client, the idea of creating a mechanism for children in the space to play with was confirmed. To avoid probable inconvenience caused by the mechanism for customers, it should have been designed as simple as possible so it could have worked quickly in order not to delay the process of browsing and purchasing.

One of the simplest and most efficient stimuli to attract children is to create a sound! Children respond to sounds even before they are born. Discovering the cause and effect in the creation of sound is a part of their development of recognition of the world around. Back in Artman Kids, the creation of a pleasant sound through a mechanism actuated by natural actions in a shopping process formed the main idea of this design.

Bamboo is a natural material, which can create a cozy and warm space for children, in addition to its ability to create a melodious sound. Linear elements of bamboo with different lengths have shaped a waved form in the center of the room which gives the space a special visual character in contrast with its white plain walls. When a child reaches out a shoe and pulls it to take a look, this tension creates a smooth wave in the bamboo installation and makes a sound. Each shoe is connected to a different point in the bamboo, and therefore creates a different waves and makes a different sound.

Direction of the tension force of hanged shoes to the center, naturally formed a triangle frame on top of a rectangle one which perfectly resembles the houses in children’s drawings. This frame, in addition to shape the space of the store, lets for many possibilities including a modulation, used in the design; a facility to showcase goods in; and a structure for the two swings on which children put on their new shoes. the triangular shape of the top of the frame also coincides on diagonal lines of the stairs at the end of the room to create Artman logo from the viewpoint of people on the street.

Intervention level and other details
In the new design the mezzanine is separated from the main space by a solid wall and is allocated to storage. To create a coherent space, all the angles and distortions are modified to form a simple cubic space. This also let for various different small spaces to show and store goods, conduct mechanical and electrical lines, and for services.

Facade of Zanjan Bldg

Tehran
1394

  • Commercial
  • 180 m2
  • Selected for 2nd National Biennal of Iranian Architecture

The commercial building of Zanjan was a two story building located in one of the cities major accesses. The design and construction of a facsde for this building was assigned to Arxe architecture studio in 2011 and the project was completed in 2012. The project is situated in Emam Khomeini st. near traditional bazaar of the city. Considering this proximity to the traditional bazaar and city's grand mosque and architectural style of the neighborhood, making use of brick has a special symbolic and identicsl value.
Befor the interventions, the building was on construction process and the facade has not been started. The mass was composed of two stories of different heights and different transparency, one of which overhanged the other. The staircase was a tall vertical cube on the side, even higher than the roof. Altogether, it was a collection of different small cubes without any coherency.

Design Idea
To create coherence and to improve the visual scale of the building were of main goals of design project. Beeing it commercial, the openings were removed mostly. Thus the main part af the facade turned into a large solid shell of brick with square proportions. This solid shell was placed on a rather transparent, skinny, thick frame, also made of brick (visually). To complete the composition, along with main brick parts, a white band was added to create another large rectangular frame.
The main brick shell, rises the visual hight of the building as high as its staircase and increases the buiding scale to more than two stories so that it could stand out in the street. Some minor manipulations was done in the solid shell to meet the buildings requirements while keeping its solidity and large scale. To create openings, the shell is bended. A bending in the right, along with the white band, creates a large window. On the other hand, this bent shell creates a semi-private space on tho roof, suitable for a food court. Another window, smaller than the first, is also created on the left side, using the same technique. Then to supply more light and maybe ventilation, a cluster of tiny fenestrations was designed on the shell in a special order. The order is created by the special arrangement of the bricks and is woven to it.

Inovations and benefits
The solid brick shell was placed on a separate structure in front of the windows, keeping a small distance and is restrained safely against lateral forces. The special characteristic of brick, capability to create custome patterns, was considered in the design. The pattern, designed for the facade, is made of tiny holes, created by the space between bricks. These virtually invisible fenestrations give a special effect to the facade. Their existance and their order is clearly visible from some special angles and can blow a soul of delicateness into the harsh face of the brick facade. This fluid and delicate move adjusts the severeness of large scale brick finish.
To draw These contradictory sences out of brick was only possible using advanced tools of parametric design. An effort was made to put all the complexity in the phase of design so that the construction phase remains as simple as possible. We also tried to reach a complex order while interfiring a normal brick pattern minimally and simply. The complex multidimensional order of the final pattern is created only by moving the bricks in their row. No off-axis movement, rotation or size variation is made. the whole pattern is made of uniform normal and bat bricks of which spaces are adjusted by a few types of spacers. the pattern is designed so that it is more transparent in proximity of windows, while creating an impressive effect.
To construct the pattern on facade, some more considerations should have been made along with normal drawings and detailings, to assure manufacturing precision. All the construction complexities were dealt with in a few types of spacers. These spacers were designed also to faciliate laying with bricks, puting mortar on, keeping the space between bricks, and pulling out after construction. The Spacers were coded and labled and details of the way they should be layed was presented in different styles as booklets. Instructions for even and odd rows, lateral bracing, ... was also prepared. Luckily afterall construction team's skill, art and wisdom came out more effective than all the design team's preparations.

Khourmoj Park Museum

Tehran
1393

  • Office Cultural & Arts
  • 0 m2

City of Khormoj, in an arid climate, is located in 90 km soth east of Bushehr Port. One of the historical monuments and tourism attractions of Bushehr province was the citadel of Kurmowj or Citadel of Muhammad Khan Dashti. This building, constructed in qajar era, is registered as a national monument in 2000 under number 3032. Its Seljuk architectural style follows Sassanid style of citadels. The building includes four walls, four towers, and many service spaces. In 1987 the municipality built a street, crossing through the building and then in the eastern half of what remained constructed the new municipality building. Today only one twer remains in the west side.

Design Strategy
In 2014 The Cultural Heritage Organization of Bushehr province defined a design project in the west half of the citadel's site. This project was redefined by Arxe architecture studio to contain a vaster area and a expansion in some new phases was proposed. This was done by attaching some of the nearby sites to expand the historical and cultural space at the center of the city. Finally a package of design Approaches was proposed as a masterplan of "Renovation of city center of Khormoj" on which design of the museum was based.

Design Approach
The design was approached programmatically and conceptually. In the first approach design aims at creating a public multifunctional space in an urban scale which is going to be the main part of the historical city's center and is capable of various cultural functions resulting it to be a prominent place for meetings, hanging around and holding public events. To achieve this goal, the building should be a complex of permeable and inviting spaces and these different spaces should gather around the tower, considering its height limits. Thus the main part of the functions were moved to underground so that total height of constructions occupy not more than one story above the ground.

In the conceptual dimension the idea was to create an abstract contemporary image of the lost urban memory - the ruined citadel. In order to do this, all the remaining documents of the citadel was collected and studied and a 3D model of the citadel before its demolition was made. The stone wall around the project, made of local lime stone, truly creates an introverted coherent whole of the building that emphasizes the historical presence of the citadel. A descend in the middle of long edges of the site gives a contemporarily-desired extroverted and permeable spirit to the building, while saving its coherence.

The central area of the resulting urban square is designed as a lowered courtyard which looks similar to the ruins of the citadel while lets for light, ventilation, and access to the underground floor. The homogeneous finish of brick on floors and walls intends to resemble an excavated archaeological site in which a visitor can keep track of the ruined monument from above to conceive a general image of it. This intention has made the roofs a part of the landscape on which visitors can stay or walk freely.

On the rooftop beside the tower a light installation of metal elements is designed to be an urban monument. in its transparent structure are represented some frames and key lines of the ruins of the citadel in an abstract manner. the resulting space under the structure can be used to hold temporary outdoor galleries and events. The main function of this structure is to restore the image of the tower considering restoration principles and to include the dimension of time in space. Also in the northern edge of the site, where formerly another tower existed, a new two story one is designed to complete the collection of historical references in this project.
for the next phases, we proposed to create two plazas in front and aside the museum and a series of shops (Bazaar) to connect these three centers. Images of these spaces is formed based on the urban context of south Iranian cities. Casting deep shadows and facilitating ventilation are two main features in them that improves tranquility and attracts users.

Smart Campus of A.U.T.

Tehran
1394

  • Cultural & Arts Educational
  • 540 m2

Smart cities and smart buildings are among the first concepts popularized about smart architecture. The smart campus of Amirkabir university is an example in this major. The client had asked for reconstruction of a whole story to be a multifunctional hall. Functions like classrooms, auditorium, study space, etc. were asked.

Normally the answer would be dividing the space and allocating each section to a special function. In this approach the continues area of the story is turned into some smaller parts each of which might not be large enough for the function in question. On the other hand a large number of subspaces are abundant in every time section, since most of the functions are not occupied permanently. Thus most of the space is usually remained unused.

Making architecture smart lets for another approach. the most common type of smart architecture is building automation, in which energy consumption is given over a software; but softwares are underestimated in this perspective.

The proposal for this building is a flexible platform, controlled by a software, which can respond to various functions requested by user. The proposed physical infrastructure is a grid of modular combinable components. Every component has its own lighting, projection and retractable membrane partitions. Their rectangular shape and dimensions is determined so as to make possible single and multiple combinations with required passages and facilitations and also larger spaces like classrooms or an auditorium. This combinability is made possible by using retractable separators of components and a couple of movable partitions. Trough software controls, specially designed for this project, administrators can request any custom program and users can reserve any of the spaces. The software arranges or suggests spatial and chronological program so that total utility is maximized.

Artificial intelligence demonstrates data, including current activities, schedules, event details, access paths,... using projectors and membrane separators. So every user is guided to his correct location, in the correct time.

To complete the process, some manipulations in the facade of the story was proposed as a modular grid, capable of demonstrating major current activities or events. Also different pieces of retractable and movable furniture and separators were designed specially, to meet the requirements of the building.

Iran's Pavilion in Venice Biennial

Tehran
1394

  • Cultural & Arts
  • 32 m2

The project of “Design of Iran’s Pavilion in Venice Biennial 2016” was submitted to a competition under the same title. The slogan for this year’s biennial was “report from the front”. The statement of Arxe’s proposal reads as follows.

“Border” can be considered as the key concept in recognition and contradiction of phenomena in themselves and to each other. Border is defined by presence of a subject in space and definition of self and other but the intellectual concept can be expanded to all intellectual and material oppositions and interactions:

Design should indeed be considered as challenging the borders between people, benefits, beneficiary groups, functions and actions. So border can be called the common basis of all the obstacles and limitations in what human is in dispute to capture and expand space to his benefit.

In the design of Iran’s pavilion in Venice biennial as a public space there has been an effort to express metaphorically the ambiguous and dynamic borders in an interactive installation using digital arts. The borders challenge their occupants’ purposes and territories.

“Border disputes” is going to represent Iran, its presence in an international event, and its challenges on enhancing human-made environment, in a metaphoric, ironic, and multilayered structure; and invites the visitors to experience and interpret the situation.

J. Allahgholi

J. Allahgholi

جواد اله‎قلی متولد سال 1365 در شهرستان مرند استان آذربایجان شرقی است. او دوره کارشناسی معماری را در سال 1389 در دانشگاه شهید باهنر کرمان به اتمام رسانید و در سال 1391 از دوره کارشناسی ارشد تکنولوژی معماری پردیس هنرهای زیبا دانشگاه تهران فارغ التحصیل گردید.

جواد اله ‏قلی فعالیت حرفه‌ای معماری خود را از دوره کارشناسی آغاز کرد. همکاری با سازمان زیباسازی شهرداری تبریز و انجام چندین پروژه ثبت بافت با همکاری سازمان میراث فرهنگی استان کرمان نمونه ای از این فعالیت ها هستند. با شروع دوره کارشناسی ارشد فصل بعدی فعالیت های حرفه ای وی در تهران در شرکت‏های مشاور معماری شهرباش و هرم پی آغاز شد. وی در سال 1392 به استودیو طراحی آرخه پیوست. در مدت همکاری با استودیو طراحی آرخه در فرآیند طراحی پروژه های متعددی در تهران، تبریز، کیش و مشهد مشارکت داشته‏ و عهده ‏دار سرپرستی برخی از این پروژه‏ ها بوده است و سرپرستی طراحی برخی از پروژه های در حال اجرای آرخه را عهده دار است. وی از تابستان 1394 به هیئت مدیران آرخه پیوسته‏ است.

از جمله فعالیت‏های آکادمیک اله ‏قلی می توان به حضور در هسته مرکزی انجمن معماری رایانشی دانشگاه تهران و بیش از دو سال همکاری با قطب فن‌آوری معماری دانشگاه تهران اشاره کرد. این تلاش‏ها نتایجی همچون برگزاری دوره های آموزشی، ورکشاپ ها و همایش های متعدد داشته ‏است.

M. Sabetfard

M. Sabetfard

مجتبی ثابت فرد از سال 1391 همکاری خود را با استودیوی معماری آرخه آغاز نمود و از سال 1392 جزو هیئت مدیران استودیو آرخه می‏باشد. در این مدت او در مطالعات، برنامه ریزی و طراحی پروژه های مختلفی شرکت داشته است. از این پروژه ها، بعضی اجرا شده و بعضی نیز در مسابقات، رتبه های برتر یافته‏اند.

وی در کنار همکاری با استودیوی معماری آرخه، تجربه همکاری در پروژه های دیگری از جمله طرح بازسازی روستای زیارت در دفتر فنی دانشگاه تهران، طراحی پروژه های معماری و معماری داخلی و طراحی محیط بازی سبک زندگی ایرانی اسلامی آناشید را داشته است.

پس از اخذ مدرک کارشناسی از دانشگاه تهران، وی با کسب رتبۀ 1 کنکور سراسری در مقاطع کارشناسی ارشد و همچنین دکترا، به ادامۀ تحصیل در دانشگاه شهید بهشتی پرداخت، و هم‏اکنون در مقطع دکترای معماری با موضوع هندسه در معماری سنتی مشغول پژوهش است.

از دیگر سوابق پژوهشی وی، می توان به تدریس در دانشگاه های مختلف از جمله پردیس بین المللی دانشگاه تهران در کیش، دانشگاه معماری و هنر پارس و چند دانشگاه دیگر اشاره کرد. علاوه بر این او در تالیف مقالاتی با موضوع هندسه در معماری مشارکت داشته و در تالیف کتاب هایی در زمینه طراحی پارامتریک و تولید دیجیتال و همچنین مرمت معماری همکاری داشته است.

R. Haghnazar

R. Haghnazar

رامتین حق‌نظر همکاری خود را با استودیو معماری آرخه از سال ۱۳۹۰ در قالب طراحی و مدلسازی آغاز نمود و از سال ۱۳۹۲ جزو هیئت مدیران و طراحان اصلی قرار گرفت. در این مدت، او سرپرستی طراحی پروژه‌های متنوعی را به عهده داشته و در فرآیند اجرای چندین پروژه نیز مشارکت و نظارت داشته است.

حق‌نظر در طول سال‌های گذشته با دفاتر مشاور و معماری متعددی از جمله استدیو طراحی و ساخت آدمون، مهندسین مشاور آرمانشهر، شرکت طرح فن‌آوری معمار رای و دفتر فنی دانشگاه تهران همکاری داشته است. او از سال ۹۲ تاکنون مدیر انجمن معماری رایانشی دانشگاه تهران بوده و در این مدت به تدریس در دانشگاه‌ تهران، تربیت مدرس و دانشگاه پارس در زمینه معماری رایانشی پرداخته است.

او در سال ۸۸ از دانشگاه تهران با مدرک کارشناسی معماری فارغ‌التحصیل گشته و پس از آن با رتبه ۲ کنکور کارشناسی ارشد به تحصیل در مقطع بالاتر در همان دانشگاه پرداخته است. پس از اتمام دوره کارشناسی ارشد تکنولوژی معماری با رتبه اول، از سال ۹۵ به عنوان دانشجوی رشته دکتری فنآوری معماری در دانشگاه تهران مشغول به تحصیل می‌باشد.

S. Hashemi

S. Hashemi

سید سعید هاشمی متولد سال 1365 در شهر زنجان است. او تحصیلات معماری خود را در دوره کارشناسی در دانشکده معماری پردیس هنرهای زیبا دانشگاه تهران و کارشناسی ارشد معماری دانشگاه علم و صنعت به اتمام رسانیده است. وی به موضوعات اجتماعی و علوم انسانی در حوزه معماری علاقه مند است و فعالیت های متنوعی در زمینه مطالعات تاریخ و تئوری معماری داشته است. او در کنار کار حرفه ای به تدریس دروس تاریخ و نظری در دانشگاه علم­و­صنعت نیز می­پردازد.

هاشمی از سال 1387 به کسب تجربه در فضای کار حرفه ای پرداخته است. در طی این دوران طرحهای مطالعاتی، طراحی شهری و معماری متعددی را در زمینه مسکن، بافت فرسوده شهری و توانمندسازی در ارتباط با کاربران و نهاد های ذیربط به انجام رسانیده است.

در سال 1390 هاشمی به همراهی سارا کرمانیان استودیوی معماری آرخه را تاسیس نمودند تا بتوانند تئوری ها و اهداف آرمانی خود را در بازار کار حرفه ای طراحی محک بزنند. هاشمی تا کنون به مدت پنج سال سرپرستی فعالیت های متنوع مطالعاتی و طراحی و اجرایی استودیو آرخه را با همیاری معماران همکار آرخه به عهده داشته است. و در فرآیند تاسیس و توسعه بخش شهرسازی و گرافیک نیز مشارکت و همفکری داشته است. او بیش از هرچیز در صدد ایجاد سازمانی است که کیفیت محصول معماری را از طریق ایجاد فرآیندهای کاری گروهی خلاقانه ارتقا دهد.

Kh. Shafagh

Kh. Shafagh

خشایار شفق تجربه های معماری خود را از سال 1381 طی همکاری با مهندسین مشاور طرح و منطقه و قبل از ورود به دانشگاه آغاز نموده است. در این مدت در پروژه های متعدد به عنوان طراح مشغول به کار بوده و از همین زمان با جنبه های متعدد تاثیرگذار در فرایند طراحی درگیر بوده است. او در سال 1384 به منظور برای تحقیق بر روی این مسایل، تحصیلات معماری خود را در مقطع کارشناسی رشته مهندسی معماری پردیس هنرهای زیبا دانشگاه تهران آغاز کرد و طی این دوره بر روی جنبه های سیاسی، اقتصادی و اجتماعی تاثیرگذار در طراحی متمرکز شده است و همزمان در دفاتر علی کرمانیان و مهندس کوروش دباغ نیز مشغول به کار بوده است. شفق معماری را از بستر آن جدایی ناپذیر دانسته و آنرا از اجزای اصلی در فرایند طراحی می شناسد.

شفق معتقد است که معماری محصول نتیجه همکاری گروهی است و به عملکرد نیروهای انسانی در پروژه های خلاقیت محور علاقه دارد. از این رو، او را بر آن داشت به تحصیل در دوره کارشناسی ارشد را در رشته MBA دانشکده کارآفرینی دانشگاه تهران در حوزه مدیریت نیروهای انسانی بپردازد. او طی این دوره به مطالعه و تحقیق بر روی متدها و روش های متعدد مدیریت و همکاری با گروه ها و تیم های طراحی پرداخته است.

او همکاری خود با گروه طراحی آرخه را در سال 1391 با تاسیس گروه گرافیک آرخه آغاز نمود و در همان سال از همکاران استودیو معماری آرخه گشت. دیدگاه او در شکل گیری ساختارهای نظری گروه آرخه تاثیرات بسیاری داشته است. در این مدت او در فرآیند طراحی و اجرای پروژه های متنوعی فعالیت نموده است و مدیریت پروژه های متعددی را به عهده داشته است. آخرین پروژه اجرا شده تحت سرپرستی وی جایزه معماری داخلی سال 1394 را کسب نموده است. شفق هم اکنون از اعضای هیت مدیران استودیو معماری آرخه می باشد.

M. Bahrami

M. Bahrami

ا
M. Toossi

M. Toossi

ا
F. Eshghi

F. Eshghi

فرنوش عشقی متولد سال 1369 در تهران است، او دانش آموخته کارشناسی معماری از دانشگاه علامه دهخدا قزوین است و قبل از پیوستن به استودیو معماری آرخه به مدت یک سال در شرکت‏های مهباد و هوتانه فعالیت حرفه‏ای داشته است. از زمان پیوستن به آرخه در بهار 94 در پروژه های متعدد به طراحی فاز1 معماری، طراحی داخلی و مدلینگ سه بعدی پرداخته است.

M. Karbasi

M. Karbasi

ا
S. Kermanian

S. Kermanian

ا
M. Moghadasi

M. Moghadasi

مهشید مقدسی متولد سال 1373 در اراک است، او دانش آموخته کارشناسی معماری از دانشگاه تهران است و همزمان با تحصیل در تابستان 95 به استودیو معماری آرخه پیوست. از زمان پیوستن به آرخه در پروژه های متعدد به طراحی فاز1 معماری، طراحی داخلی و مدلینگ سه بعدی پرداخته است

E. Nasehi

E. Nasehi

الناز ناصحی دانش آموخته کارشناسی مهندسی معماری از دانشگاه زنجان است. پیش از پیوستن به استودیو معماری آرخه در زمستان 94 تجارب حرفه ای خود را با کار در مهندسین مشاور نقشیاد در تهران آغاز نموده و با دفتر معماری و شهرسازی شهرزیبا در تدوین طرح گردشگری مجموعه گاوازنگ زنجان همکاری داشته است.

وی فعالیت های پژوهشی خود را در زمینه معماری پایدار و توسعه گردشگری دنبال میکند. او سفرهای پژوهشی متعددی در راستای فهم فرهنگ بومی مناطق مختلف ایران داشته و همچنین خارج از مرزهای ایران نیز به سفر و کسب تجربه پرداخته است.

او پس از پیوستن به استودیو معماری آرخه در تعریف پروژه های متعدد و انجام مطالعات آنها نقش و در روند طراحی و اجرای چندین پروژه موفق مشارکت داشته است. او همچنین با مهندسین مشاور پارس بوم در زمینه پروژه های مطالعاتی، طرح‏های گردشگری و برخی فعالیت‏های فرهنگی و مطبوعاتی در حال همکاری است.