MA (Master of Arts) Environmental Design - Chelsea College of Arts - University of the Arts London, U.K., 2013
I was born at the onset of the Iran/Iraq war, which persisted throughout my early childhood. Growing up in a war can present unique and difficult experiences that shape one's perspective and outlook on life. The violence and devastation of war can leave deep emotional scars, and for those of us who have grown up in war-torn regions, these experiences can be long-lasting. We may have witnessed or experienced violence, lost loved ones, or struggled to access basic necessities such as food, water, and shelter. Despite the hardships, many of us exhibit remarkable resilience and fortitude. We have had to adapt quickly to changing circumstances, learn to manage stress and uncertainty, and form strong bonds with our communities. For those who have experienced war firsthand, peace becomes a precious and hard-fought commodity. Many of us develop a profound appreciation for the value of peace and recognize the importance of preventing violence and conflict in the future. Growing up in a war can also shape a person's sense of identity and belonging. It may reinforce our connection to our culture or community, or it may lead us to question our place in the world and our values and beliefs.
During my time as a graduate student at UAL in 2013, I drew on my personal experiences as a survivor of war to inform my research. My thesis examined the spatial and emotional effects of negative images (such as those found in photography) and explored whether these images, when used in an aesthetic context, could convey sensory-emotional values that retell stories of horror, fear, and trauma. Through extensive archival research, field surveys of London, and secondary resources, I presented my thesis in two chapters and accompanied it with a collection of art installations that delved deeper into the concept of imagery and iconography in the context of my research on World War II. The Interior and Spatial Design program at the Chelsea College of Arts provided me with a research-based MA degree that focused on critical inquiry into space through the theoretical and practical research interests of the students. Under the guidance of my primary supervisor and mentor Dr. Ken Wilder, who taught the curatorial communication and logistics for art exhibitions in museums and galleries, I learned how to create, install, and showcase my mixed-media installations to the public.
During my time as a graduate student at UAL in 2013, I drew on my personal experiences as a survivor of war to inform my research. My thesis examined the spatial and emotional effects of negative images (such as those found in photography) and explored whether these images, when used in an aesthetic context, could convey sensory-emotional values that retell stories of horror, fear, and trauma. Through extensive archival research, field surveys of London, and secondary resources, I presented my thesis in two chapters and accompanied it with a collection of art installations that delved deeper into the concept of imagery and iconography in the context of my research on World War II. The Interior and Spatial Design program at the Chelsea College of Arts provided me with a research-based MA degree that focused on critical inquiry into space through the theoretical and practical research interests of the students. Under the guidance of my primary supervisor and mentor Dr. Ken Wilder, who taught the curatorial communication and logistics for art exhibitions in museums and galleries, I learned how to create, install, and showcase my mixed-media installations to the public.
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Projects
The Experience
Attending a fast-paste program in art school, can present various challenges, especially for those of us who are from the traditional 'architecture' background, and accustomed to more structured or formulaic forms of learning and deadlines. Art being a subjective field means that there are no fixed right or wrong answers, which can add to the difficulty. Each project demands extensive research, dedication, and time commitment, often requiring long hours of practicing, crafting, and creating new work, which can take a toll on both the mind and body. Despite the challenges, we were able to have a great year by supporting and encouraging each other every step of the way.
MA Thesis
Recognition
I learned about King Charles’s views on modernist architecture through my partner, a South Londoner in 2013 as I was getting ready to start my MA. I was intrigued by the prince’s interest in urban development and architectural styles, especially given that he seemed to spend most of his time in his Gloucestershire estates and at Balmoral. Before ascending to the throne, King Charles III was a prominent figure in British architecture due to his strong advocacy for traditional styles and his vocal criticism of modernist approaches. His most notable intervention came with his 1984 "carbuncle speech" where he condemned modernist architecture, including a proposed high-tech extension to the National Gallery. He described the design as a "monstrous carbuncle", a term that later became a symbol of his opposition to modernist projects and led to the abandonment of several such schemes. King Charles championed traditional architecture through various media outlets, including articles, speeches, and a TV documentary (here is a link for you to explore if you are interested in learning more). He also put his architectural beliefs into practice by supporting the development of traditional towns, such as Poundbury, a planned community in Dorchester designed by Leon Krier, which is a prime example of his vision for classical aesthetics in urban planning. Such developments reflect his commitment to traditional design principles.
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While researching the National Archives (images below are properties of the archives) for pictures of London before the Blitz, I spent a considerable amount of time exploring East and Central London, engaging with locals - mainly pub owners - and photographing the modern buildings that replaced the historic fabric of the city. The London Blitz refers to the intense period of aerial bombing raids carried out by Nazi Germany against London and other British cities during World War II. From September 1940 to May 1941, the Luftwaffe targeted London with nightly bombings, causing extensive destruction, loss of life, and significant damage to infrastructure. The Blitz aimed to break British morale and disrupt wartime production, but it ultimately demonstrated British resilience and resolve, contributing to the eventual defeat of the Axis powers. As a result, it seemed only natural to send Prince Charles a gift upon completing my project: one of the images I created by overlaying before-and-after pictures of the bombed areas.
I was astonished when I received the delightful note from the Clearance House. I’ve since framed it and displayed it in my office as a cherished reminder of my graduate studies and my time in London, all those years ago :)
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It's good to know that in response to his dissatisfaction with modernist architecture, King Charles III (then Prince Charles) proceeded to establish the Prince’s Foundation in 1986. The Foundation’s mission is to support practices that honor historical and cultural heritage while fostering community-focused and environmentally responsible design. King Charles established the Foundation in response to his dissatisfaction with modernist architecture, which he felt often clashed with historical context and failed to serve community needs effectively. His vision, as mentioned previously, was driven by a commitment to preserving aesthetic and cultural values in architecture and urban planning. The Foundation reflects the King's belief in integrating traditional design principles with modern sustainability, aiming to create environments that respect and enhance existing urban and rural landscapes.
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