Checker Box Office Complex / Arsh Design Group

© Courtesy of Arch Design Group

Architects: Arch Design Group
Location: No.16, Khorsand St, Vali-Asr St, Between Mellat Park and Parkway, Tehran, Iran
Project Team: Reza Eilkhani, Pantea Eslami, Nashid Nabian, Sohail Qandili, Alireza Sherafati
Structural Engineers: Behnam Nateghi
Client: Abolghasem Nabian & associates
M&E consultant: Ali Ghanizadeh & Ali Piltan
Lighting consultant: Ali Piltan
Main contractor: Omran Kavir Company
Project Area: 1,400 sqm
Budget: US $2,000,000
Project Year: 2007-2009
Photographs: Courtesy of Arch Design Group

City of Tehran is an absurd constructed landscape. Here, the conventional typology for achieving high density which is that of towers, is replaced by a completely different spatial strategy whereas density is achieved through massive deployment of a mid-rise building type; which is that of four to five storey piloted apartment buildings. The dominance of this type has yielded a some what absurd urban morphology whereas the exterior manifestation of the apartment buildings from a street point of view are limited to a single two-dimensional façade . Further more, due to particular dynamics of real state market whereas the price of land in Tehran has reached unbelievable milestone, the investors demand architects to design for a spatial scenario whereas maximum allowed envelope is built to maximize the profit return of the investment.

The spatial ramifications of above mentioned morphology on one hand and the dynamics of the real state market on the other hand intensifies the importance of the façade design in the over all process of conception, development and implementation of buildings since [over]investment on this single façade is the way to make the building standout in its context as unique and for that matter architecturally attractive. Under such circumstances, the architect does not have that much of maneuver in volumetric composition and what is left at the end of the day for the architect is basically the main façade of the building with the maximum depth of 20 to 40 centimeters to be actually designed. So, for every project the concern is how can we design this envelope, or façade in a way that the project stands out instead of fitting in, in its immediate context?

Design Strategies

(1) building the maximum allowed building envelop into sellable inhabitable space.

(2) providing design based variations that allow the building to stand out as a unique piece of engineering and artistic intervention in its spatial context,

(3) making sure that the adopted design strategies in spatial composition, proposed construction techniques and technologies and choice of materials are not compromising the financial reasonability/feasibility of the investment as a whole.

With the above mentioned goals in mind the design strategies that have been incorporated in conception and development of the architectural scheme are as follows:

Considering the exterior architectural surface or façade as a micro-section that needs to be architecturally developed as opposed to graphically composed

Conceptualizing the architectural façade as an activated or animated Surface

Conceptualizing the façade as a neutral yet animated surface that stands in contrast to the humdrum of adjacent urban facades each striving to stand out with some what an exhibitionist attitude

Innovative construction techniques combined with choice of cheap materials.

 

Benetton Competition / Scheurwater + Hoven

In addition to the Benetton competition providing participants with the possibility to redefine the influence of retail in an urban landscape, the competition also provided participants with the choice to design “Building A” or “Building B”.  While we shared some of the winning proposals for Building A (Grzegorz Witold Woronowicz and Giuseppe Iodice), we now share Maarten Scheurwater and Oliver van den Hoven’s proposal for Building B, which placed second in the competition.

More about the winning proposal after the break.

The competition is interesting because although the two buildings are independent, with their locations about 800 meters apart, their programmatic requirements and square footage are identical.  As with Building A, the competition clearly expressed the need for the 12 level building to be formatted in this manner: the underground levels must provide parking and storage space; the ground and first floor (1200 m² each) must be subdivided into 3 commercial units, the second to fourth floor (900 m² each) are designate for office space; the fifth and sixth floors (675 m² each) are for office facilities; and the seventh floor (675 m²) will be apartments.

“The Benetton competition brings together two seemingly conflicting domains: the dynamic world of fashion on the one hand and the static domain of architecture on the other. The central objective of this project is to design a timeless building for an industry that creates new collections and appearances every season,” explained Scheurwater.

For Scheurwater’s proposal, a projected volume roughly covering the entire site is split into two parts: a cube and a thin slab.  The void adds an intimate shopping experience for those passing by to become attracted to the entrance area marked by the two split forms.   This small space creates a welcoming environment to combat the massive form.  ”The programme in the competition brief implies a thinning from the base upwards. This thinning is purposely internalized in this project by means of a large void that gets larger towards the higher levels,” explained the architect.  By keeping the thinning effect internal, the structure maintains it massive silhouette throughout the levels.

Most of the facade features a curtain wall design with 4mm thin slabs of local Persian marble mounted on the outer glass panel of the curtain wall.   The facade creates a translucent feel as light and shadows glow through the marble to highlight the openness and lightness of the interior.  The facade does not only create an interesting environment at the street level, but also carries those same properties through its higher levels.  The filtered light “renders the beautiful textures in the marble and brings calm and character…to this inner world”.  As the light intensity changes throughout the day, so to does the appearance of the facade.  During the night time, the light from the office spaces, shops and apartments filters through the facade in different directions to light the structure “like a lantern that can be distinguished from as far as the elevated highway and further to the South.”

Scheurwater van den Hoven Architecten
Maarten Scheurwater
Olivier van den Hoven

www.svdharchitecten.nl

 

Designing in Teheran – Woronowicz Kalinowski Kus Rewski

The international competition Designing in Teheran seeks to modernize the Iranian city by fusing the existing cultural area with a more contemporary environment.  Such an environment will include influence from the fashion world through the introduction of new retail areas.  This competition is comprised of the design for two towers, Tower A and Tower B, which will provide retail space for the popular clothing store the United Colors of Benetton.  The jury has selected three winners for each tower, and soon will narrow the selection to one winner per tower. The proposal by the team formed by Grzegorz Witold Woronowicz,  Jakub Piotr Kalinowski, Piotr Kus and Krzysztof Rewski   was selected as a winner for Tower A, attempting to create a new kind of shopping experience for users within the complex.

More sketches and more information about the winning proposal after the break.

Located on the corner of Salmak Street and Vali Asr Avenue in Tajrish Square, the 1500 m² lot will feature the 12 level structure (including four below ground levels).  The competition outlines the specific programming for each floor such that the underground levels must provide parking and storage space; the ground and first floor (1200 m² each) must be subdivided into 3 commercial units, the second to fourth floor (900 m² each) are designate for office space; the fifth and sixth floors (675 m² each) are for office facilities; and the seventh floor (675 m²) will be apartments.

The designers’ approached the project as a way to create not just a dynamic modern retail area, but as the opportunity to  address the shopping behavior of modern users.  The designers address the social change of how modern retail spaces lack the dynamic atmosphere the old markets had with their lively chatter and friendly atmosphere.  In an effort to inspire that same kind of shopping space, a passageway that functions as an “inner street” runs through the building.  The two green areas that boarder the passageway give more of a private feel to the space and also create a lush environment for the shoppers.  ”The passage idea…is nothing new. But the way of shopping is. It forces customers to think about other people in the shop,” explained the architects.   “A big slide fixed to the ceiling. Clothes are hanging on it. If you want to see some item you have to move also some other clothes to get yours. This could cause inconvenience to the others. If you want to avoid it, you have to negotiate with other customers interested in this group of items how you can move all the clothes not to disturb them,” he added.

The building’s form is a modern-take on the ziggurat, a historic icon for the region.  Clad in engraved aluminum panels inspired by traditional Persia decorum, the façade protects the interior from over-heating and creates a decorative, complex shade for the interior.  On the upper levels, which include offices and residence areas, the window shutters are also made of these panels so the façade stays continuous in its design.

 

Razan text & context Architects: Villa for a friend

Architects: Razan Text & Context
Location: Tehran, Iran
Principals: Alireza Taghaboni & Parisa Alimohamadi
Constructed Area: 300 sqm
Project year: 2008
Photographs: Razan Text & Context

We had suggested a house to a friend: “we will make you a home; fitting the best friend”. He didn’t wait for something special; a normal villa, just safe and out of harm’s way, as possible as it could. Municipality laws and the high slope of the site (as the first design’s guidelines) lead us to a terraced sketch.

The site was extended to the south-east. A pure, unbelievable, sunlit view in front of us. There for we made it like two boxes; a box on the other one, Like two frames: to record different views of the same location and beyond all for catching pleasure sunlight the most.

They wanted to specialize the uncovered space on the first box to their celebrations and ceremonies, so we moved bed rooms to the downer box and put the kitchen and living room in the upper one; an answer to their request: relating the court yard with the public rooms.

The sloped covering on the final roof is also a technical solution for hard winters and the snow load.

And in relation to those scratched wooden covers that attached to the balconies edges: they have made for protecting house from wind, snow, and all who wants breaks into a house, for the security that friend mentioned, for L.Fontana, the painter we like, and to present an artificial view to the nature.

Main access is the stairway from the main entrance (in the lower level/the border between out and in) to the main entrance of the building (upper box / public room), and in the middle of its way there’s a way to the personal area (upper box).

Kitchen is a suspending cube.

 

Paykar Bonyan Panel Factory / ARAD (Architectural Research And Design)

Architects: ARAD – Bahram Kalantari, Kourosh Dabbagh
Location: Tehran, Iran
Design Team: Majid Pazhuhi, Niloofar Niksar
Technical Team: Anoushiravan Kharrazi, Mehdi Holakouie, Mona haddadi
Project Manager: Eskandar Hadjizadeh
Structural consultant: Behrang Baniadam (Afarinesh consulting co.)
Site Area: 10,500 sqm
Constructed Area: 4,200 sqm
Project year: 2006
Photographer: Kamran Adl, Ali Daghigh
The project: is a factory that contains a prefabricated building system production plant plus an office & ancillary building.

Site: The site location is an industrial city for non-pollution factories, 35 kilometer away from Tehran/ Iran.

The Client Goal: is to change the traditional construction system to an industrial building system which can fulfill the enormous demand of construction in Iran. The client, therefore, wanted the factory to be indicative of this goal in terms of architectural quality in industrial building system with no resemblance to traditional factories in Iran.

The program: is a 3700 sqm production plant with a 350 sqm mezzanine for settlement of technical management team and 500 sqm for technical office and showrooms and mechanical room that must be close to and with a good access to the production plant. There is also a 500 sqm management building with a VIP suit and receptions that is connected to the main bldg with a bridge.

The ancillary building with 200 sqm area is in a separate building in the site.

Building Morphology: These types of buildings always possess some characteristics such as large span, modular structure and homogeneous space.

Architectural Concept: (everything happens @ once) Architect’s approach towards designing a distinctive building is to bear in mind the above-mentioned characteristics.

As regards this project, not only the characteristic aspects have been regarded but also we have been able to get the maximum use of a kind of architecture which provides for all quantitative and qualitative architectural demands.

Geometry of space: (The geometry can make us either murderers or lovers)The emphasis was to apply a simple geometry of space to be able to meet all the prospects foreseen in the project such as the program and the required connectivity and moreover be able to create a new atmosphere which makes turn a globe either in section or in plan as well as the project façade ( interior and exterior) into a homogeneous object.

The building is located North-South lengthwise and the main administration building which overlooks Alborz mountain has a uniform glass view.

Source:

http://www.archdaily.com/7456/paykar-bonyan-panel-factory-arad-architectural-research-and-design/

 

Kamran Kopaei / Amordad design developer

Architects: Amordad design developer
Location: Esfahan, Iran
Principals: Kamran Kopaei, Farshad Shagoshtasbi, Golrokh Kopaei
Owner: Sepahan beyond research (structure & mechanic office)
Project year: 2008
Photographs: Amordad design developer

The matter of design is an old residential building in the city of Isfahan which was supposed to be remodeled as an office.

Regarded to the traditional elements of Iranian local architecture, the design team tried to use contemporary synonyms of traditional materials and forms such as; hand-made bricks, colored glasses, wooden decorations, vitray and water; also the Iranian form of cross which was traditionally used to manage the divisions of space.

The concept of designing for the central void is derived from the form and application of traditional wind towers of desert regions of Iran. This void can lead the wind into the spaces in different floors around it. And because of applying the water in the bottom, it would also become cool and refreshed. In addition the void can also lead the natural light through the mirrors which are used in its body. These mirrors reflect the light to each other so that it can move down and get to the spaces even in the ground floor.

In the south elevation, there is a special frame of black steel which is used to control the direct and intensive light of the west in the evening. The façade is a itself is flat; but the fame is a little rotated; so there is a difference in distance between two ends of this frame and the surface of façade that cause this covering. In this façade the main material in use is hand-made brick in two sizes (90*7 – 40*7) and various colors. That can make it local and known.

In brief this building is a combination of modern spaces which all can be understood as the continuity of traditional architecture of Iran.

Source:

http://www.archdaily.com/20550/kamran-kopaei-amordad-design-developer/

 

Iranian Architect and the MIPIM award

Iranian Architect, Somayeh Rokhgireh, wins MIPIM award
Remote Iranian Village aims for self-sustainability

By Nargess Shahmanesh-Banks

Somayeh Rokhgireh, Iranian architect, wins the first prize for Alamoot’s self-sustainability project. MIPIM award winning Alamoot’s design is based on the proposition that eco-tourism will make a positive contribution to a stagnating local community
• Saving water and snow-melt for multiple re-use
• Earth pipe cooling
• Solar heating
• Building form to maximise energy conservation and waste management

A remote village in has picked up a sustainability award MIPIM. Alamoot, in the province north of , won the award for master planning and regeneration, as well as for the most sustainable project at the annual architectural award in 2008.

The eco-brief

Almoot was designed by lead architect Somayeh Rokhgireh and co-architect Ali Pooladi, director of Iranian architect practice 3plus4co.

The proposal is based on the proposition that eco-tourism will make a positive contribution to a stagnating local community suffering from the effects of rural migration caused by mass urban migration in the country.

Alamoot is a self-sustaining project. Eco-measures include saving water and snow-melt for multiple re-use, earth pipe cooling, solar heating, through ventilation, the use of building form to maximize energy conservation and waste management.

The Scheme

Alamoot is designed as a small mountainous village allocated mainly to residential, cultural and economical activities in the region.

Given the area’s historical importance (it was once the capital of Ismailie and Hasan Sabah) and following the economical stagnation as well as migration in the rural areas, the designers decided that a project based on the principles of eco-tourism would make positive contribution to the local community through locally defined initiatives.
The proposed plan

1. A residential part for the accommodation of groups comprising: eco-tourists, archeologists, experts of environmental, agricultural and demography issues.
2. Planting, processing, exhibiting and selling of herbal medicine workshop.
3. Permanent indoor and temporary outdoor markets of selling local community products including dairy, foods, agricultural products as well as handicrafts.
4. Restaurants of organic food made by local cook.
5. Indoor sport and restaurant recreational center.
6. An auditorium to hold seminars of scientific issues as well as committing traditional and ritual local ceremonies.
7. ICT as a center for engaging the local community with the international world. In order to demonstrate and trade their products via the net market.
8. Courts as the centers for outdoor social activity, communication and holding ceremonies.
9. Underground parking beneath the village for daily services and an open space parking outside the site of the village (cars are not allowed to enter on the site surface).

Postscript :

Lead architect: Somayeh Rokhgireh – Co-architect : Ali Pooladi, director of 3plus4co.
About the firm: 3plus4co has had office in since 2002. It laims to be a responsive designer and executor group that creates innovative environment with a sustainable and local style architecture focus. The firm has already completed major schemes in.

Source:

http://www.tavoosonline.com/News/NewsDetailEn.aspx?src=14200

 

Work of Jørn Utzon in Iran

Jørn Utzon (1918 – 2008) the famous Danish architect (on the left) and the creator of the magnificent Opera House of Sydney Australia, once said that he was inspired by the Isfahan’s architecture when designing his soon to be Australia’s landmark.

This 2003 Pritzker Prize winner, is perhaps the most important architect of new era who has done a project in Iran. Few years before his masterpiece in Sydney, he was commissioned to design a branch of Iranian national bank (Bank e Melli) in Tehran in 1959 (University Branch on Enghelab street).

While designing a modern building, Utzon has used tall ceilings at the entrance and incorporating sunroofs in the same traditional style seen in old Bazaars (Market Places) of Iran.