Architecture of Accumulation is a manifestation of the infrastructure of global capitalism, an attempt to find a form for the mass of objects and operations required to sustain global trade and logistics. Architecture of Accumulation materializes in Panama, a key point of international logistics. Architecture of Accumulation sublimates and crystalizes the unresolved tension between global operations and local landscapes. Architecture of Accumulation reimagines the organization of the industrial landscape by imposing a vertical density instead of horizontal expansion. It goes beyond the scale of traditional architectural gesture and becomes the territory itself. Architecture of Accumulation is an exploration of programmatic complexity and density. Architecture of Accumulation is adjusted to the scale of a container rather than a human body. Spaces for homo sapiens are carefully designated and limited. Architecture of Accumulation is a mass of symbiotic and conflicting fragments. Architecture of Accumulation remains in a state of unfinishedness. By the time the last beam is produced, the first one will already rust. The structure, like a modern-day Ship of Theseus, remains in constant change. Architecture of Accumulation resists simple categorization. It is technocratic to the most radical extent, where paradoxically it transcends mere practicality and becomes and architectural landmark. Architecture of Accumulation illuminates the condition of contemporary infrastructure, and utilitarian landscapes, which evoke a feeling of sublime, almost forgotten within the architectural field.

The Office for Digital Oblivion is a project that aims to re-ground discourse on information technologies and the realm of the digital through engagement with its immediate material conditions and operations. It has grown to become a full-fledged hybrid, blurring boundaries of what we consider natural or cultural, ecological or anthropocentric. It aims to to challenge perceived banalities around information infrastructures, tracing systems through scales, aiming to spatialise and thus problematise operational complexities which due to their scale remain largely illegible. With that, it puts forward new approaches to conceive of infrastructural systems, transgressing purely technocratic dogmas and new ways of thinking, worlding and becoming-together in the Anthropocene.

Our endless pursuit of precision in measures both geographical and temporal has destroyed the ability to get lost, to be curious of what is beyond the horizon, to sight monsters and live to tell the tale! Modern society is not without its own mythos however: By making real the coordinate grid, the project generates modern monsters, and a sense of wonder for the drunken variousness, incorrigible plurality, and sudden beauty of the world that cannot be measured. This paper as an experiment on the form of the essay itself seeks to circumnavigate its own content. Always regarding the dangers of the measure and precision from the outskirts, without risking collision by claiming to execute such precision itself. In its structure, pages of the essay may fall into place like leaves of a tree in autumn, to be read as it has been written: fragmentary, leaping from one page to the next, getting lost in its content, in order to find one’s self again. The project that has emerged from this research positions 97 follies in the Pacific Ocean of Panama in order to subvert and question the measure, and embrace the unfathomable nature of the surface.

Local conditions along the New Silk Road are often largely impacted by the global ones operating in their area—one of such being the Republic of Panama, ever since the build of the Panama Canal. The canal offered a shortcut and connected the World over water, but paradoxically introduced divisions in other directions, it divided continents, the country, and ecosystems, ... This project explores the dual and opposing nature of connecting elements. The dichotomy in the meaning they hold is ascribed to the ever-changing factors, narratives, directions, and perspectives towards them, while the elements themselves persist as the only constant, as a reference. Despite being perceived as linear, once approached carefully, thresholds become spaces, spaces consisting of all the areas they divide. Cinta Costera 3 viaduct surrounds the two impoverished neighborhoods and the old core of Panama City: Casco Viejo, while offering connection to the residential and work areas for the wealthy. This connecting element simultaneously divides Casco Viejo from the wealthy areas and from the ocean. A seemingly linear border, a threshold to pass in order to reach the open ocean. The design aim is to dissolve the city into a beach. The intertidal landscape between the city and the threshold becomes a beach and becomes the end-goal itself. The city is reaching out to pass the threshold and achieve freedom=bathing. In this attempt, it encounters zones, thresholds, connections, and divisions, and experiences the revealed sensations of bathing, and spending time in and around water, and by the time the threshold is traversed, the aim was already experienced within.

This graduation project explores the often-overlooked ecological damage caused by large man-made landscapes. It focuses on creating architecture that critiques, analyzes, and suggests new norms for evolving environments and ecologies. The project blends scientific knowledge with architectural design, using data from environmental science disciplines to make the space an educational tool.
Living Archive aims to break the isolation of Barro Colorado Island. It is an extended space, accessible to more visitors, enhancing the knowledge of a local unique ecology. It introduces a third mediating scale that addresses both small (micro) and large (macro) environmental aspects. The design features spaces that reveal ecological conditions and promote direct sensory experiences.
Inspired by scientific methods and Donna Haraway’s "Situated Knowledge," the project uses architecture as a tool to study Gatun Lake and Barro Colorado Island. Through various experiments and iterations, the project developed into a response driven by curiosity and site-specific needs.
The final structure, a "living archive," marks the space with unique floral features in each room and enhances natural processes like rainwater collection and sun path movement. It includes a series of rooms accessible by boats, creating a new connection between scientists and local inhabitants. This shared space fosters dialogue and a deeper understanding of the environment.
In summary, this project offers a new architectural approach to addressing ecological trauma, integrating scientific collaboration, and creating a dynamic and inclusive environment.

Monsoon folio situates itself within a vast planetary system as I follow the interactions of the char dwellers with the monsoonal cycles in the Assamese borderlands of India. While in modern writings of cities, the domains of the social and natural have been understood in isolation, cities as human-made and separate from nature, I try to foreground urban developments as a more-than-human assemblage. Far from an urban backdrop, monsoon takes root and ruptures socio-spatial arrangements.

Starting from a port, Marseille was born as the result of improvisation and spontaneous architectures rather than urban planning. Same things happened in the architecture scale. architects are not the only doers of architecture. Long after the building has been made the non-architects continuously do architecture. When non-architects occupy space, they start to ‘do-it-themselves’. In most cases, they do this in an already occupied territory, where the activity of doing architecture has been classified and claimed by architects - the rules have already been established. But there are also some space occupations that are out of the rules, such as squatting, vendors, graffiti, protest. They, like “pet architecture”, do not necessarily create appealing spaces, and some are even illegal, but they can highlight people’s demands and show people’s bottom-up determination to shape the city.

When people do the practice, they mainly based on their own current needs and what material they have instead of considering the building or city as a whole. These practices are spontaneous, unplanned makeshift and ad hoc. They can be seen as improvisational practice. Seen architecture as paintings, in these cases, their improvisational activities are more like a collage rather than fully considered composition. But as Jencks explains, it involves using an available system in a new way to solve a problem quickly and efficiently. By doing so, it offers a way for everyone to shape and discuss the city they live in. And for the public, there should be nothing preventing them, in an agonistic and participatory manner, from devising and debating forms of their shelter and space for daily life. The improvisational practice has itself taken inspiration: Another world is possible.

Mashhad has been geopolitically an important city in the region and a trade and connection hub to Central and East Asian countries. It is also the second-largest Muslim pilgrimage city after Mecca. It is a global city for which religion shaped the identity and influenced the spatial configuration of the city.

Religion, politics and economics are the main forces which run the city and have not only affected the growth and development of the whole city but are involved in the shift toward a large-scale infrastructure, which has become a dominant idea of city planning during the last few centuries.

Overlapping the flows and its agencies reveals that district six is the logistic hub and the entrance to the city, it encounters both scales regional and local, therefore it is the site of intervention.

Mapping the different flows, spaces and everyday life reveals that the big infrastructure is informed, and has strong connectivity with its surrounding region however it creates discontinuous relationships on the local scale, the local scale is neglected. moreover, its main spaces are economic driving, and the marginal settlement, are result of this spaces.
People are vulnerable society, they have access only to groundwater due to technical problems associated with expansion of the system in marginal areas, groundwater is highly contaminated.

The project aims to bridge not only physically but also socially culturally and environmentally. It is located within the infrastructure node (Ghadir square) transferring its space into Hybrid spaces which have multifunctional use, inhabiting the infrastructure space and transforming its spaces into places. Its atmosphere encounters both natural and urban, regional and local.
The main emphasis is on the water, driving from the research, the project is an assemblage of different function water filtration system, metro, market, educational centre, parking and communal spaces, each function with its own individual character has its border and territorial scale but all are connected to the central park and water tank.

Creating neighbourhood identities based on their distinctive interrelationship with water.

As a major transit city on the Mediterranean, Marseille’s urban history and landscape are largely defined by the continuous flows of matter and energy over time. Amongst these interwoven flows, the waste flow is one of the striking focal points. This is not only because the city of Marseille has historically struggled to escape its "dirty" reputation, but also because of its urban landscape today, which has been constantly reshaped by waste as a result of various natural and social events. In this project, the site of research is further targeted at the area near the estuary of the Huveaune River where waste and water flows densely intersect in the city. The idea of infrastructure as an intertwined system will facilitate alternative imaginations of Marseille's waste recycling facilities in order to re-project their social and ecological impact.

Light, shadow and shade are at the foundation of our cartesian understanding of 3D space. Where light falls on matter the difference in shading allows us to see this space. However, light also breaks this understanding creating the potential for a phenomenological understanding instead. Which is seen with an extradimensionality in certain situations, where space does not make sense. In this moment, where matter falls on light, the very fabric of the world is distorted. This thesis investigates what happens in between these moments, the infinite movement within the finite moment. The spatial implications of the movement between states are echoed in the material approach, where the relation between figure and ground is investigated and reversed. The polished building and the resulting quarry become the polished quarry and the resulting built form. Creating a monolithic structure, suspended in different states, at once a careful balance between addition and subtraction and between matter and light as principal shaper of space.

To every rise and fall of nations, crowds were vital. They could appear in the form of armies defending their motherlands or revolutionaries rewriting the courses of history, but they are also vital to political baiting beloved by every ‘big guy’. Crowds also bring in life to the masses; it is the various social spectacles that we (occasionally) attend to feel recharged and alive, connected by the warmth human relationship provides and the sense of belonging manifested therein. A politicised crowd likewise need not have a political agenda to address nor does it always entail a revolutionary goal; both dominance and resistance can too be accidental by-products of such accumulation. The question of crowding being truly democratic and its capacity to remain as a simple social event is, however, still open to debate.

To what extent can architecture embrace the transformative qualities of crowding and crowd flow?

I therefore aim to intervene at Porte d’Aix and return the life the various masses once embraced, ergo the title The Revolution of the Roundabout: The Arch as the Spectacle between Function and Deactivation. I intend to investigate the tension between endorsing and harnessing crowd formation on the one hand and crowd control on the other for I concluded that it is the focal dilemma of modern architecture and planning. It is in this propensity of the mass to crowd and tendency of (state) authorities to encourage crowd formation where there appears to be a tacit acknowledgement of the transformative nature of collective experience.

“The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart

With this short statement, the famous composer Wolfgang Amadeus Mozart aptly captures the essence of the Interval spaces that this thesis was defining. Those are left-over or side-effect spaces, which have many programs but are not programmed. They emerged over time as a consequence of placing other primal and secondary objects. They become used by different agents in unprogrammed or instinctive ways. Due to their undefined nature, they become places of possibilities, change, freedom, and availability.

The aspect of time plays an important role both in creating them, and in their constant development. Firstly, they are created as a consequence of many layers of elements assembled at different time periods. They form a three-dimensional patchwork of layers of history, human actions, nature’s impact, and urban and architectural decisions. All the different layers leave traces on the site, which have an impact on one another.

Their constant transformation never ends. Those spaces always evolve. Even if the primal elements do not change for a period- new human activities are always emerging there. This is a fundamental aspect of the intervals- they give a sense of freedom and possibility. The agents feel liberated to express themselves and use the space in an undesigned way and sometimes even random.

This thesis focused on first defining and exploring the Interval Spaces and later using them to analyse the Project Site and imply their spatial logic into Architectural Design. A site in Marseille city center was mapped and analysed. It contained ancient ruins from various periods. The design focused on creating a spatial situation that would enable experiencing them in a completely new way. The logic of Interval Spaces was used to create spatiality and the experience for the visitors. This approach helped to create a completely new approach to designing with ancient ruins, but also to create new way of forming spatiality. Lastly, it explored and showed a new way of looking at sites. The site is no longer a modernist tabula rasa where a new project emerges in isolation to what used to be there, but it is a space full of traces of the past, which when taken into account in the new project can only add an enrich it.

We spent hours sitting in silence, until he turned his eyes away from the window and spoke: ‘I would like to tell you one last story, It has been decided, there will be no more travels beyond the edge for me.’ In the following days I heard, not one but five, stories of people M encountered – inhabitants of the land he traveled to. Truth be told, it did not seem like any of the earlier destinations. This place seemed somewhat deteriorating, lacking internal cohesion, subjected to pressure coming from the ‘core’. In the years to come it will inevitably become part of it, devoured by its insisting territory. Inhabitants of the land were gradually pushed to the edges, while the ‘core’ kept on indulgently swallowing their homes, imposing its own logic onto progressively flattened space. Some left, others opposed, finally there were those who decided to inhabit what was left of it - the place they once called home, now hostile environment they had to learn how to dwell in anew. In the midst of dust, rubble and tumbling buildings they found ‘the void’, squeezed between some remaining edifices. Those were largely industrious spaces, destined to provide for and fuel the becoming extension of the core. It seemed almost as if those people, like an anguished animal, were pushed into a lair, one that was not fit to receive them. They were forced to inhabit the toxic ground, polluted by the years of industrial activity, to use and reuse the existing material, scraps, debris and so on. Building their new home from the remains of the recent past, invoked rebuilding of a shattered mind, or fragmented memory. Indeed, their lives reflected in this peculiar architecture they were destined to soon call home.

Marseille as a port city that is in constant flux carries out a vast array of qualities and experiences that creates a dynamic collection in which heterogenous conventions, orders, and routines interrelate and collide. It is a complex urban network of places and fragments that come together in this context of ‘otherness’.
Analysing Marseille through a heterotopic lens in our collective preliminary research has led me to the exploration of additional characteristics of the city as forms of ‘other’. I do not consider heterotopias essentially as spaces of resistance - as has been interpreted by many scholars - but as sites that colligate and connect different logics and norms.
This thesis looks at the ‘Absurd’ as a form of ‘otherness’ that emerges out of non-conventional that challenges common relationships and orders.
In philosophical terms, the absurd refers to the constant conflict between the human tendency to find meaning and purpose in life and their inability to find
these certain values.
Absurd does not provide a resolution, even though it is not an anti-resolution. It essentially operates by consistently colliding and juxtaposing different orders, norms, and conventions to dismantle customary relationships. The absurd does not bring forward any point since it points to the pointlessness.

In the absurd, there is no greater question, no moral lesson, no essence, and no story. There might be the appearance of a tale… only the wait for
Godot; the story never consummates, but the space for it latently exists. As paradoxical as the absurd is, the setting produced out of absurdity is indeed
elusive.

The Banality of Death addresses the way the city of Mashhad deals with death. It is an attempt to architecturally translate and expose the tensions that arise between traditional values and the modern transformation of the burial process by the design of three extended rest-stops along the Bagcheh Highway that act as mediators with the goal of interweaving the territories of the dead and living. They are part of the burial ritual as well as they accommodate places for rest and leisure. The design includes a playscape at a former burial place of a persecuted minority in Mashhad where people are playfully confronted with death and its architecture (1), an ablution facility in between two highways that functions as the starting point of the burial ritual and acts as a transfer point for a mobility system, taking visitors that are not necessarily related to the burial ritual around the territory (2) and a watchtower situated on/in a forgotten site of heritage where formerly pilgrims encountered their first view towards the golden dome of the Imam Reza Shrine at the center of Mashhad, and has a role in the completion of the mourning process.

This project embraces the latent tensions and conflicts within the mysterious Taklamakan Desert, where cultural history is being rewritten within the contemporary paradigm of surveillance capitalism. By binding the national demand for data centers with the archaeological excavation of destroyed heritage sites, the material and cultural memory of the people remains with a translation to the digital realm, and the forbidden rituals facilitated in a subdued manner to avoid conflict with the larger national agenda.

In Mashhad, one million - a third of the people - live in marginal settlements also known as slums. Migrations from the countryside and Afghanistan to Mashhad, and housing crisis have pushed many to settle in the literal margins of the city. However, their life is everything but settled: their existence can instead be characterized as a nomadic condition in which they are always on the go. Flexibility, informality and trajectories are essential to their survival within the precarious and marginal settlements. The marginal settlers have to manoeuvre between scarcities such as employment, food, water and sanitation. Those scarcities are constantly changing and thus the daily trajectories of the marginal settlers do so too. Moreover, marginal settlers live this way in areas that are marginalized in a multitude of senses: geographically, economically, politically, socially, architecturally and environmentally. Natural hazards, low employment, administrative borders, little education, poor quality housing, and an environment of waste and lack of waste management all contribute to the daily conditions of the marginal settler.

Very often, when similar poor conditions are faced by design, attention goes to the betterment of housing or creation of community centers. They are however striated or approaches, thinking from a city-point of view: to try to fit the
marginal settlements within the organizations of the city. This project seeks for the opposite approach:

The project intents to improve the marginal state of Mashhad's marginal settlements whilst being focused on life in transit. The project addresses trajectories and intersections and intents to embrace, amplify and take inspiration from the nomadic lifestyle. Its use is intended to be of democratic and public nature, ready to be taken over and adapted by the marginal settlers themselves.

This approach can be more feasible than changing the lifestyle of a third of the city’s people. The design task is first to create social facilities that provide basic needs that are absent in the marginal settlements along the daily trajectories of marginal settlers and secondly an integration of those social facilities in a new waste management network, which creates employment and cleans the environment from waste upon which trajectories move. This integration draws people towards the site where they are made aware of the importance and benefits of waste recycling, and in return for waste receive services along their daily trajectories.