Red

Stories of courage and experience

In January 2024, the Contemporary Architects Association, hosted the inaugural “Red Non-Competition” at a national level, aiming to realize its vision and enhance the power of experimentation in architectural design. Ultimately, 20 submissions were selected by renowned international architects. A panel of distinguished Iranian architects analyzed and reviewed these works in front of an audience of 1,500 attendees over two days. Additionally, an exhibition showcasing the 20 selected works, along with installations by the event sponsors, was held alongside the presentation space. Since May 2024, to maintain the continuity and momentum of the Red Non-Competition initiative, the Contemporary Architects Association has launched a series of events titled “Red Table.” These events spotlight the conceptual projects of the selected participants and will continue until the second edition of Red.

Agenda
First Red Session Presentations and Meeting on Thursday, January 11
  • Exhibition Visit10:30 - 10:50
  • Opening Speech - Elham Razavi11:10 - 11:55
  • Red Report - Aref Baranian11:10 - 11:20
  • Digging for Light11:30 - 11:40
  • Dasht Chehel Villa11:45 - 11:55
  • Weekend House with 8 External Columns12:00 - 12:10
  • Rineh Villa12:15 - 12:25
  • Jandagh Library12:30 - 12:40
  • House Facing the Persian Gulf12:45 - 12:55
  • Inner House13:00 - 13:10
  • Future Programs - Tanaz Asadollahzadeh13:15 - 13:30
  • Break13:35 - 14:30
  • Reza Daneshmir14:45 - 17:15
  • Amirhossein Ashari14:45 - 17:15
  • Azadeh Shahcheraghi14:45 - 17:15
  • Houman Talebi14:45 - 17:15
  • Yaser Mousapour14:45 - 17:15
Second Red Session Presentations and Meeting on Friday Morning, January 12
  • Exhibition Visit 09:00 - 09:20
  • Hunting Room 09:00 - 09:10
  • Villa Alley 09:45 - 09:55
  • Dom-in-Nature 10:00 - 10:10
  • Residential Complex in Kahrizak 10:15 - 10:25
  • Ecoflex 10:30 - 10:40
  • Bafthar Dermatology Clinic 10:45 - 10:55
  • Lumina 11:00 - 11:10
  • Mini Break 11:15 - 11:30
  • Mohammadreza Ghadousi 11:45 - 13:45
  • Pouya Khazaeli 11:45 - 13:45
  • Mina Moeinoddini 11:45 - 13:45
  • Mohammad Majidi 11:45 - 13:45
Third Red Session Presentations and Afternoon Meeting on Friday, January 12
  • Exhibition Visit 14:30 - 15:25
  • Zavareh Sanctuary 15:30 - 15:40
  • Shafagh Mausoleum 15:45 - 15:55
  • Building No. 38 16:00 - 16:10
  • Villa 60=200 16:15 - 16:25
  • Qoushkhaneh Garden 16:30 - 16:40
  • A Stage for Urban Events 16:45 - 16:55
  • Mini Break 17:00 - 17:20
  • Alireza Taghaboni 17:30 - 19:30
  • Atefeh Karbasi 17:30 - 19:30
  • Sepideh Elmi 17:30 - 19:30
  • Kamran Afshar Naderi 17:30 - 19:30
Sponsors
Organizer
Venue
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RED Stories of courage and experiment قرمز; روایت‌هایی از جرات و تجربه کانون معماران معاصر
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Project Title: Weekend House with 8 Protruding Columns
Design/Construction Date: 2023
Project Location: Sang Deh, Mazandaran, IR
Project Statement: The upcoming project combines diagrams from the 2 previous projects. From Farnsworth House (by Mies van de Rohe) and Moriyama House (by Ryoe Nishizawa). The podiums and outboard columns and the suspended ceiling between the columns take from one and the separation of the rooms of a house, which leads to the production of a field of relations between the rooms, from the other. It places the podiums between the rooms and places a semi-transparent ceiling supported by 8 outboard columns above them. Now the question is, what does this kind of interference in the form due to the combination of diagrams have for the domain of architectural and life possibilities? As a result of separating the roof from the walls below it, a large semi-condition space is formed. The semi-condition space, which includes a field of conditioning rooms, podiums, and the natural topography of the ground. Here, the programs can be done in the conditioning rooms or come outside the room and continue in the semi-condition space that is safe from the rain. Cooking, sleeping and hanging out can happen in a semi-condition space that is directly connected to the conditioning rooms and the natural green space of the site. In addition, the project suggests a kind of relationship between nature and artificial. Here, the topography of the site and its natural environment are drawn into the project and are present in its innermost points. In addition, the topography, which is a natural element, takes the place of the stairs, which is an artificial element, in some parts of the project and assumes the task of moving in height.
Project status: Ready to build
Designer / Design office name: Ali Ghanadi

Project Title: Dasht-e-Chehel villa
Construction/Design Date: 2019/2021
Project Location: Mosha, Damavand, IR
Project Statement: Dasht-e-Chehel villa 40 is an experience to reach an external-internal life in a cold climate. It is about how to stay out of the building and experience snow and rain but still remain in a safe zone. And how to be inside without losing sensory, visual and psychological connection with the outside. And also how to blur the boundary line between inside and outside to reach a greater freedom.
At the beginning of the design, due to the extension of the ground in the north-south direction (with length of 50 and width of 20 meters), we decided to place the building in the same direction of ground and closer to the north border , in order to benefit the beautiful view of the north.
Then, by making a diagonal cut along the building, we brought the north view to the heart of the building, and in addition, an outdoor roof was created towards the yard that would allow the physical presence of humans during snow, rain and also let they use the midday heat (while being protected from direct sunlight). By the way, residents are not limited to the inside of the building and they can use a larger part of the yard in cold seasons.
In the southern part of the building, by creating a glass chamber with a thick stone wall behind (Trombe wall) and some openings at its top and bottom), the thermal energy radiated during the day can be stored and used to heat the building at night.
In the end, by avoiding flattening or stepping the site (common solution for the sloping lands), the horizontal and vertical access routes became ramps to provide more smooth and comfortable movements throughout the building and enhance the feeling of freedom.
Project Status: Built
Designer/Design Office Name: 51-35 Architecture Office
Lead Architect/Designer Name: Hamid Abbaslou – Abbas Yaqouti – Neda Adiban Rad
Design Team Members: Mohammad Reza Aghaei
Photograhpers: Arash Akhtaran-Abbas Yaqouti

Project Title: Digging for the Light (Qanat Villa)
Construction/Design Date: 2023
Project Location: Arnan Village, Yazd, IR
Project Statement: Perhaps the time has finally come to turn off the lights in at least one place and witness what space reveals without them. Inspired by Jun’ichirō Tanizaki’s “In Praise of Shadows”, the design concept for Qanat Villa stems from the profound imagery in Tanizaki’s work. His portrayal of a romantic past devoid of glaring artificial light, and the exquisite interplay of light, shadow, and darkness within spaces and objects, evokes a longing for such an environment.
The process began by defining boundaries—starting with a blank slate, so to speak. Our initial priority was to select a site that offered a wide spectrum of light, shadow, and darkness. The central desert of Iran emerged as an ideal candidate. Its intense sunlight and sharp shadows provided the desired qualities, while its absolute darkness revealed a new universe in the night sky.
To further refine our options, we focused on areas surrounding the city of Yazd. Our goal, however, was not to build a house in an isolated, barren landscape detached from civilization. Instead, we aspired to present a gift to the environment—enriching the natural surroundings, built context, and even the local community. This led us to choose the village of Ernan.
Nestled near a mountain bearing fossils that testify to 12,000 years of human habitation, Ernan is also home to a seasonal lake, numerous dried qanats, and a Qajar-era fortress. Furthermore, it lies close to several villages lacking adequate healthcare, education, and social facilities. By situating the project here, we aim to contribute to improving the conditions of the entire region.
Project Status: Ready to build
Designer/Design Office Name: Mohammad Rahimizadeh
Lead Architect/Designer Name: Hossein Roasaei
Design Team Members: Hossein Roasaei, Pegah Sameyi, Ziba Baghban, Ghazaleh Eskandari, Pardis Ahmadi, Mehdi Jamnejad

Project Title: A House Looking to the Persian Gulf
Construction/Design Date: 2022
Project Location: Gachu Village, Qeshm Island, Hormozgan, IR
Project Statement: Gachu village is slowly on the verge of expansion, and due to the interest of non-native citizens to settle in Qeshm Island, Gachu will eventually be on the verge of uneven expansion. The incident that hit the coasts in the north of the country is now creeping up in Qeshm. The presence and influx of capital to the region is creating unbalanced development. The result of which can be felt in the occurrence of colorful incongruous architectures in Qeshm and Hormuz, it is interesting that even a correct definition of the architecture of the region is not presented in the apparently traditional constructions and in practice it will witness the presence of UFO’s from other climates, Like the whole of Qeshm, Gachu lacks gas, and there is a lot of wear and tear on the electricity network, so energy has been one of the main concerns of the design team. Gachu is practically a family village and all residents are connected to each other and this It was very important for designers that the presence of new architecture does not cause visual disturbances.
The project was handed over to the design team with the condition that there was a small dilapidated building of about 40 square meters. Considering the location of the project site in the beautiful and ancient island of Qeshm, which itself has a background of traditional southern architecture, the following principles were initially considered by the designers before starting the design.
– Providing a suitable model for expanding the rural context and future constructions in the village due to the location of the project site at the main entrance of the village.
– Emphasizing the use of local patterns and techniques in order to reduce the energy consumption of the building in the middle seasons (passive house).
– Avoiding any heterogeneous presence in the context of the design and respecting the visual comfort of the local residents and using simple references to the traditional architecture of the village.
-Applying salvaged or recycled materials into the project to reduce the embodied carbon of the project, this entails usage of materials like dried palm leaves or old wooden parts of local sailing retired boats.
Project Status: Built
Designer/Design Office Name: Kooshk Office
Lead Architect/Designer Name: Arash Khodadad- Samaneh Yarahmadi- Pouria Ameri
Design Team Members: Farnoush Baratlou, Rojin Rasoulabadi, Fahimeh Mirzaie, Zahra Nikzare, Farnaz Jahangiri, Alireza Tajik, Reyhane Karimi
Photographer: Mohammad Hassan Ettefagh
Other partners in the project: Maede Ghavidel (Graphic Designer)

Project Title: Jandaq Library
Construction/Design Date: 2019/2023
Project Location: Jangagh, IR
Project Statement:The Jandaq Library was defined by a private client as a limited-budget charity project in the small city of Jandaq on the outskirts of the desert. The current urban texture of Jandaq has three main sections: Kheshti Castle, or the Adobe Castle of Anushirvan, with a  porous spatial diagram with thick adobe walls. The traditional structure of the city outside the castle includes central courtyard houses placed within a grid urban texture. The town’s modern district which does not meet a specific model of spatial pattern. The site of the project occupies one-quarter of 12000sqm of an urban open space.
The initial proposed plan, based on a central courtyard diagram and as a unified whole, was approved by the client. However, due to severe economic inflation in the years 2019  to 2020, in Iran, this plan lost its feasibility within the limited budget. The question was, with what strategy can we add possibilities to the project and to the city while responding to the economic challenge of the project?
Our solution was to change the project’s strategy and diagram from a unified whole to a fragmented and porous diagram that had the ability to be implemented at different times and replicated in three-quarters of the remaining site. This diagram aimed to reproduce the complex genes of the fortress in the contemporary urban texture.
This type of spatial organization transformed the hierarchical diagram of libraries into a permeable and fragmented diagram, and the created intermediate empty spaces added social potentials to the project. The walls are thick and made of rammed earth, reflecting the region’s long history of using bricks. The first phase of the project is currently under construction.
Project Status: Ready to build
Designer/Design Office Name: “Hameh Shahr” Architectural Office
Lead Architect/Designer Name: Maziyar Ghaseminia
Design Team Members: Peyman Nozari, Shadi Bitaraf, Siavash Sharghi, Saman Salimi
Photograhpers: Arash Akhtari

Project Title: Rineh Villa
Design/Construction Date: 2019
Project Location: Amo, Rineh, Mazandaran, IR
Project Statement: In recent years, the trend of building villas in the north of the country has increase.Unfortunately, nowadays villas are built in pristine and natural areas, which has caused damage to rural and natural areas. The expansion of unprincipled villa construction and the destruction of nature is severe that they caused lots of alarming changes.The site is located in the village of Rineh. By visiting the site, we observed that the process of villa constructions in this area has also destroyed its nature. This issue became one of the main challenges of the design process.The way of locating the architectural mass on the ground was one of the main challenges of the design, so we decided to return the removed nature to the site as much as possible. Based on this, the architectural mass was not placed on the ground level and above of it, we organized the spaces below the ground level. In the design process, extensive studies were conducted on the vernacular architecture of the region and its fundamental concepts. Roof is considered an important factor in the architecture of the north of the country. Therefore, in the design process, we tried to redefine this topic. The designed roof is a combination of flat and sloping roof so that its upper level is functional. The site is mountainous and has meandrous ways, which are the paths of the villagers. By walking through them, we are faced with the natural and pristine views around the site. By returning the removed land to the site, the roof of the project becomes an urban pause space (porch) for the villagers, which changes the boundary between private and public space and transforms it from a mere boundary (zero and one) to different levels of space.
Project Status: In Progress
Designer/Design Office Name: Hamidreza Gozarian / Link Architecture Office
Lead Architect/Designer Name: Hamidreza Gozarian
Design Team Members: Katayoun Ardakani Movaghati

Project Title: Alley – Villa
Design/Construction Date: 2023
Project Location: Ghalat, Fars, IR
Project Statement: Iranian architecture is characterized by its brick architecture, associated with its dry and hot climate. A significant aspect of Iranian architecture that is overlooked is the architecture of the mountainous and cold regions of the country. Therefore, the purpose of this project is to illustrate the possibilities of architectural design in mountainous areas and to employ stone material in its natural form.
Project Status:Built
Designer/Design Office Name: Daal Office
Lead Architect/Designer Name: Pedram Mirzaei
Design Team Members: Pouria Ebrahimi, Ehsan Afianian, Shida Chapani, Mina Ghasemi
Photographer: Arash Akhtaran

Project Title: Hunting room
Construction/Design Date: 2023
Project Location: Chalus, IR
Project Statement: Amidst the natural environment of plants, trees, and water, a metal room stands out. The room is not just a room; it has given order to what was previously there, defining its boundaries and narrowing its scope.
“Building” is not quite fitting for this small room. “Expansion” is more appropriate; the room has expanded from within. Previously, it was a short chamber with clear ends, but no boundaries! Now it is firm, solid, and heavy, and clearly defined. These metal sheets have not added anything to the previous space; they only explain that this space could have existed before.
Five years ago (in 2018), we renovated the “Lanak Villa”. The garden extended from the entrance path to the river with a steep slope. In a corner of the garden, in a place where there was a difference in elevation resulting from the slope of the garden, there was a buried room in the ground with minimum opening towards the river. It provided a space for seclusion that was occasionally used while enjoying the garden. It had great potential and we constantly imagined ways to activate it. Interestingly enough, the client also imagined this room differently in his mind. One day, our imagination and his coincided during a simple conversation. Ideas of simplicity, silence, blending with the garden, and tranquility were discussed. A space far from the events of the main villa. An imagination that arose from visualizing being in the garden and using water. A space that had immediate connection with its natural environment.
The project started with expanding the room. Demolishing the stone retaining wall to attach an extension creating a thermal bath on the ground for we couldn’t dig the previous room’s floor. But it didn’t stop there. Creating a platform with maximum connection to the garden and river ahead for spending time became the main design line of the project… Removing the stone wall meant creating a structure to support the ceiling and soil above the old room. This intervention was accompanied by attaching steel framing.
The appearance of thermal bath determined approximate dimensions and proportions of the new space. The next step was installing steel sheets as finishing along with applying protective (polyurethane) coating.
“Material” encompassed many aspects: Integration, expansion of space, differentiation from foundation while being resolved within it, construction techniques and timing; all converged in raw iron.
“Program” was another aspect that shaped the project’s nature: experiencing being in a garden with an atmosphere different from that of an ordinary villa. Changing and relocating pathways near the riverside served as an excuse for defining multiple programs within certain limits. The idea of room expansion by defining a platform for relaxation, using thermal bath, cooking and sitting around the fire pit gradually transformed into a homogeneous space that allowed for activation of various scenarios within itself.
Project Status: Built
Designer/Design Office Name: Pragmatica Design Studio
Lead Architect/Designer Name: Mohammadreza Mohebali
Design Team Members: Siavash Dastgerdi
Photographer: Deed Studio

Project Title: The House Inside
Design/Construction Date: 2020
Project Location: Emameh Village, Tehran, IR
Project Statement: One of the pressing issues in suburban development in Iran is unauthorized construction, which has effectively supplanted urban planning. This practice poses a severe threat to suburban gardens, transforming green spaces into dense, unplanned neighborhoods. Concurrently, inflation and economic challenges have turned living spaces into capital commodities, incentivizing construction for profit under any circumstances. This shift has led to the typology of villas evolving into apartments, significantly impacting the privacy and quality of life in these areas.
In response to these challenges, this residence offers an innovative solution, providing a new mode of collective living that reconnects inhabitants with nature often excluded in urban settings. The design centers around three 70-square-meter caves carved into the ground, forming a harmonious accommodation camp encircling a central courtyard. Each cave serves a distinct function and is physically separated to maintain privacy and enhance the connection with nature: the first houses the bedrooms, the second is dedicated to living spaces, and the third contains the pool and utility areas.
This configuration allows residents to experience nature while transitioning between spaces, fostering a sense of independence and uniqueness in each area. The public spaces are designed to maximize light and views, creating a vibrant, open atmosphere. In contrast, the bedroom spaces are intentionally placed to receive minimal light, emphasizing the stark distinction between public and private life while ensuring maximum privacy.
A wide porch connects the inner courtyard to the western landscape, gently shaping the soil of the hill to reveal the neighboring village through the garden’s trees. This design ensures open and semi-open spaces remain bathed in light and connected to the natural surroundings throughout the seasons.
By integrating privacy, light, and a deep connection to nature, this residence offers a thoughtful architectural response to the challenges of suburban development, enabling residents to experience a harmonious balance between collective living and personal retreat.
Project Status: Built
Designer/Design Office Name: Olgoo Architecture Office
Lead Architect/Designer Name: Mehran Khoshroo
Design Team Members: Reihaneh Miraftab, Soroush Zidanian, Samin Mostafaei, Bita Aboutalebi, Mahsa Esmaili, Sina Tabarsi

Projrect Title: Ecoflex Pavilion
Design/Construction Date 2021
Project Location: Amol, Mazandaran, IR
Project Statement: The Hyperbolic Paraboloid Research Pavilion, using bamboo, is an attempt to explore the geometric potentials of curved hyperbolic paraboloid surfaces to create architectural space. The design process began with the question of how to produce complex geometry in an accessible way through a bottom-up process and how to utilize its potential for spatial creation. Bamboo was chosen as a material for the design due to its structural and environmental qualities.
The hyperbolic paraboloid presents a geometric structure that, despite its complex surface, can be constructed using linear elements. Additionally, due to its modular nature, it allows for the expansion of the structure. The design process started with generating and studying various options on a smaller scale. The selected module allows for covering large surface areas without the need for columns within the space. Moreover, its hexagonal plan provides the possibility of expanding the module, which is another feature offered by this structure. In such conditions, the integration of architecture with the structure becomes one of the key attributes of this design.
As the project progressed, detailed observations of the design’s features led to suggestions for the use of this structure. Due to its lightweight yet strong structure, ease of assembly, and potential for expansion, it seemed to be a suitable option as an emergency shelter. Therefore, the design process continued to strengthen the plan in these aspects. With prefabricated components, the structure can be easily assembled on-site. Temporary structures used in crisis situations require not only fast construction time but also sufficient strength, availability of materials, and sustainability.
Project Status: Built
Designer/Design Office Name: Dejmar Furniture Company
Lead Architect/Designer Name: Pejman Mokhberi
Design Team Members: Nahal Ramezani
Photographer: Amirfarzam Eslami

Project Title: Kahrizak Residential Building
Design/Construction Date 2016
Project Location: Kahrizak, IR
Project Statement: The residents of the Kahrizak area are migrant workers. Considering the cultural and economic conditions of the inhabitants of this area is one of the most important objectives in the design of this project.
This project is situated on a square plot, each side measuring about 18 meters, with three sides enclosed. Each floor was designed to have four 50-square-meter units, and the floor for two of the floors had already been completed. In this situation, the best solution was to fix the northern units and improve the southern units in line with the functional requirements between the northern units of the building and the urban facade of the project.
The first challenge of this project was the significant lack of budget for construction. As a result, we needed to choose a solution that could be implemented by local workers, while also using affordable and accessible materials. Therefore, the best material option for us was brick.
The second issue was the cultural mismatch between the residents’ lifestyle and the type of construction in the area. For example, the design of large balconies in residential projects led to their improper use. Due to a lack of space, residents would wall off their balconies to create more indoor space, use them as storage, or close them for cultural reasons. This practice prevented adequate light from entering the building and made the building’s exterior look very unappealing.
Therefore, we designed the project using brick modules, each of which addressed a specific need of the users. Due to the limited space in the units, we also incorporated wardrobes or seating niches into the inner wall of the modules. Adequate light was brought into the project through tall windows.
Project Status: Built
Designer/Design Office Name: Mehdi Kambozia/Cut Architecture Studio
Lead Architect/Designer Name: Mehdi Kambozia, Helena Ghanbari
Design Team Members: Mehdi Kambozia, Helena Ghanbari
Photographer: Parham Taghiof

Project Title: Dom-in-Nature
Design/Construction Date: 2023
Project Location: Sarm Village, Qom, IR
Project Statement: The primary concern in this project is the dominant influence outside the disciplinary realm of architecture in the world, prompting us to confront such questions: 1- What compels us to look beyond the discipline in architecture? 2- Why, when we begin to produce an architectural project, do we insist on stepping outside the architectural discipline? 3- When we are not fully aware of the architectural discipline and lack mastery over its internal issues, how can we claim to have crossed its boundaries? In this proposal, we take a document from the architectural archive and begin to experiment with it. This historical document is the famous Domino by Le Corbusier. This time, we explore the Domino as an independent object. Apart from all the external social, political, and economic influences of its time, we remove the Domino from its contemporary context. However, we are not only interested in extracting the Domino from its context. At the same time, we are curious about how an architectural object can be separated from architectural history. Is such a thing possible? Can, by separating from its architectural history, the object maintain its essence? Or, does the Domino rely so much on its history that it loses its independence without it, and its reality vanishes? Does what remains remind us that we have transcended the boundaries of the architectural discipline? Is architectural history the same as the architectural discipline, or is architectural history a subset of issues within the architectural discipline? This experiment on this architectural object is intended to take us into the unknown.
Project Status: Ready to Build
Designer/Design Office Nam: Amirhossein Sharifzadeh
Lead Architect/Designer Name: Amirhossein Sharifzadeh
Design Team Members: Najme Johari, Amirhossein Rashgi
Structural Designer/Consultant: Amirhossein Sharifzadeh
Photographer: Zahra Mobasheri

Project Title: Zavareh Temple
Design/Construction Date: 2017
Project Location: Zavareh, IR
Project Statement: Zavareh Temple was built based on the idea of constructing a mosque in a new power plant area next to the historical city of Zavareh. The city is situated on the border of the central desert of Iran, neighboring one of the oldest mosques from Ilkhani’s era (12th century AD) and the resulting architecture affected by it.
Completing the construction project of the power plant, Persian Holding had to build a mosque for its staff members by knowing that it rarely will be used.
It is suggested building a temple dedicated to all religions, instead of constructing a spacious mosque practicing a single religion.
From far away, the monument is supposed to resemble a piece of ice in the middle of the desert. As you get closer, you encounter a pool with a temple sitting in the middle of it.
The circular plan of the temple implies the concept of alliance among the religions and invites different religious orientations into one direction. Light emitting from the peak of the temple comes into the inner areas and creates a white and gray spectrum range. This intellectual lighting takes prayer’s attention to its source and brings a sense of unity. The spiral plan of the mosque implies the integration of nature and human beings to reach the unity.
Project Status: Built
Designer/Design Office Name: Ali Sheikholeslam / Kama Group
Lead Architect/Designer Name: Ali Sheikholeslam
Design Partners: Ashkan Shirani, Adib Iravani
Photographer: Ali Gorjian

Project Title: Lumina
Design/Construction Date: 2022
Project Location: Roudaki St, Shiraz, IR
Project Statement: With classical logic, there exists a profound difference among form, volume, and light. A challenging question for me in this context was whether one could use light not merely as a source of illumination but rather as a tool for creating form. Can light act tantamount to form itself, interacting with space and engaging the audience?”
I began my exploration with the same concern, experimenting with various materials, and mirrors, in a peculiar manner, presented this unique opportunity. While the use of mirrors in Iranian ornaments has historical roots, it has not been approached in this manner. I, however, employed the fragmentation of mirrors to form light. Each piece of mirror, in its reflection, becomes a parameter for creating a novel form in space. In this method, although the cutting and arrangement of mirrors follow geometric patterns, the audience does not recognize a specific pattern; instead, they find themselves in a luminous harmony in space. With every change in the light source, the space can transform. The polished surface of the mirrors creates reflections upon the neighboring surfaces as if they were cut and carved pieces of light, harmoniously paired.”
“Lumina,” as a prominent three-dimensional artwork, seeks to reimagine the aforementioned concepts. The extensive surface of intricately crafted mirrors immerses the space in waves of light. The audience does not see themselves in the fragmented mirrors, but within the heart of a shining jewel. Suddenly, in the presence of these mirror surfaces in a simple space, we witness a reflective play of light that continually forms new shapes. This new quality of spatial experience encompasses the trinity of form, volume, and light for the audience.”
Project Status: Built
Designer/Design Office Name: Raha Cheraghzadeh
Lead Architect/Designer Name: Raha Cheraghzadeh
Photographer: Arash Akhtaran

Project Title: Baftar Dermatology Clinic
Construction/Design Date: 2020/2021
Project Location: Jordan St, Tehran, IR
Project Statement: After reviewing the project, the interior design began with a primary concern: How can a patient visiting the clinic experience the space as more than just a functional program, but as a pleasant environment? How can their desire to be in a healing space be stimulated? With this effort, the design process, after removing all excess details, was formed in two main stages: integration and contrast. The first stage is the cohesion of the entire project with a semi-transparent, flexible, and textured coating that liberates the interior space from the multiplicity of window openings and, like a soft and seamless membrane, takes shape according to the functional requirements of the form. The second stage is the highlighting of the spatial envelope of the treatment in contrast to its background, in a way that the sensitive and fragile crystal box firmly separates its boundary from the waiting space with distinct materials and a color palette. This choice of dual coating materials with contrasting sensory qualities (maximum and rough texture versus minimal and soft texture) was one of the main design and especially execution challenges of the project. The choice of a metal mesh as a covering for the entire space, although unexpected for the audience of a therapeutic space, has advantages that other materials cannot meet. This relatively economical and accessible covering, without completely negating the presence of windows, unifies the interior boundaries and takes on a fluid form in accordance with the functional needs of the project. The audience who experiences the waiting space finds, in a section of the whole, a semi-transparent box that tries to curiously invite the viewer. In conjunction with this delicate treatment box, an inviting axis is seen parallel to it. The created functional-visual axis, in addition to providing access to treatment rooms with movable walls, creates a multi-functional space
Project Status: Built
Designer/Design Office Name: Anzo Design Studio
Lead Architect/Designer Name: Ehsan Tavasoli, Solmaz Tatari
Design Team Members: Nila Shahmohammadi, Amirhosein Najimi, Armin Shahmohammadi
Photographer: Nimkat Studio

Project Title: Bagh-e Ghooshkhooneh
Design/Construction Date: 2021/2022
Project Location: Isfahan, IR
Project Statement: The carpet weavers in this neighborhood are mainly women who live in economically disadvantaged areas. These women juggle household and family responsibilities while also working as carpet weavers. Many either travel daily to distant workshops or allocate part of their home to set up a loom. The carpets they create are later sold at exhibitions. The project’s strategy was to establish a workshop within one such neighborhood, Bagh-Qooshkhaneh. Given the scattered nature of the disciplines involved in carpet production, we planned a comprehensive workshop incorporating all stages of production—design, dyeing, and weaving—adding value to the process. This setup allows visitors and buyers to witness the production process firsthand, fostering interaction and synergy. After analyzing the neighborhood’s conditions and project constraints, we opted for minimal intervention. Instead of demolishing the existing structure, we proposed “a building within a building,” utilizing the old, unused stable for the new addition. This lightweight structure was carefully integrated within the existing walls. Considering the local buildings’ lack of formal facades, we aimed to preserve the authenticity and purity of the materials used in the new structure. The design kept the structure exposed and raw, harmonizing the old and the new. The carpet weaving workshops were placed in the existing rooms of the old section, while the new structure was built over the former stable to serve as an adaptable, floating space.
Project Status: Built
Designer/Design Office Name: Se-Bar Studio
Lead Architect/Designer Name: Mohsen Khazdouz, Adib Iravani
Design Team Members: Mahsa Moradi
Photograhper: Ehsan Hajirasouliha

Project Title: No 38 (Fiber gym)
Design/Construction Date: 2023
Project Location: Tehran, IR
Project Statement: No 38 (initially designed as a gym for women use), in a way, represents a simultaneous silence and outcry towards the current state of society, both in its social layers and in realities such as the fact that women cannot engage freely in some outdoor activities or have direct contact with the outside world. It is also situated as a non-residential entity within a residential area. Perhaps the project displays an unusual and uncommon sensitivity to these issues while also providing a solution to the problem at hand. The project can serve as an example of our society, where the exterior and interior are not alike. The exterior represents an image that must be projected, while the interior is what actually exists. We have expressed these conditions in an exaggerated manner through architecture. Perhaps the suppression that exist in society is manifested as thick concrete walls, while the interior space is highly energetic, bright, and dynamic.
Project Status: Built
Designer/Design Office Name: Boozhgan Studio
Lead Architect/Designer Name: Hamed Badriahmadi

Project Name: Shafaq Tomb
Design/Construction Date: 2023
Project Location: Ardakan, Yazd, IR
Project Statement: The design of the Shafaq tomb aimed to preserve the familiar signs of Iranian religious architecture while also creating a modern effect.
One of the defining characteristics of humanity is the desire to preserve memories of the past. Monuments and tombs are constructed as a result of this trait. Given that religious tombs have a long-standing tradition in Iran and have ingrained themselves in our collective memory, they assume a familiar form. By studying past tombs, it was concluded that domes, inscriptions, and geometric motifs were key elements of this type of architecture due to their frequent use.so the design of the Shafaq tomb aimed to preserve the familiar signs of Iranian monumental architecture while also creating a modern effect.
Project Status: Built
Designer/Design Office Name: 35-51 Architecture Office
Lead Architect/Designer Name: Hamid Abbasloo – Abbas Yaqouti – Neda Adiban Rad
Design Team Members: Mohammad Reza Aghaei
Photographer: Arash Akhtran, Abbas Yaqouti

Project Title: The Stage for Urban Event
Design/Construction Date: 2022/2023
Project Location: SepidDasht, Lorestan, IR
Project Statement: This project involved designing a memorial to martyrs with a minimum budget in Sepiddasht, a small town in the Iranian province of Lorestan. Located in the old fabric, the designated site has been used as a cemetery for ages. The site was located in an urban opening along the town’s main road. The majority of memorials are built as single objects or sculptures in small and big cities of Iran.
Our question was:
Although the budget and program allocated for the design and implementation of this project were limited, how could we produce the most profound effect on the town?
In response to this question, our strategy was to leave behind the stereotype of constructing a sculpture and a single object as the dominant typology of memorials. Instead, we decided to design a “open program” space, so that it could be a highly flexible space for the town and assume various roles on different occasions.
We used a perpendicular plane that would be extended on the ground so that its vertical component could retain its symbolic role. To strengthenthis role, we punched eight holes through the plane and placed one cypress behind each opening (i.e., there were eight cypresses). We used the red travertine from Azarshahr to make the “stage” noticeable in the urban fabric. The extended part of the plane on the ground can be used to display urban events. However, we positioned the locations of existing graves on the stage and put one black box on the edge for each punch.
In various urban events, different surrounding surfaces such as the rooftops of nearby buildings, terraces, balconies, streets, alleys, and even surfaces inside adjacent shops can be used as platforms to watch the events. Therefore, this stage expands its roles in the city.
Project Status: Built
Designer/Design Office Name: Reza Farashi, Maziar Ghaseminia
Lead Architect/Designer Name: Reza Farashi, Maziar Ghaseminia
Design Team Members: Ehsan Inanloo, Shadi Bitaraf
Photograhper: Mohammadhossein Etefagh

Project Title: Villa 60=200
Construction/Design Date: 2021/2023
Project Location: Chalus, Mazandaran
Project Statement:
A plot of land with an approximate area of 400 square meters located in Chalous was referred to us for the design of a villa. However, there was only the possibility of constructing a 60-square-meter roofed area on it due to zoning regulations (15% land-to-building ratio), which was not in line with the client’s demands. This contradiction has given rise to two main inquiries:
Query 1: Why should all parts of the house even be covered?
Query 2: Why should a clear boundary even exist between the outdoor and indoor spaces (whether opaque or transparent)?
By throwing doubt over these inductive issues, we attempted to redefine the typology of villas constructed in Iran.
The design is spatially configured by sequential layers, starting from the most inner space:
Layer 1: The initial layer of the project takes form with two L-shaped walls at the center of the project, accommodating the bedroom space. It is fully conditioned and the lighting comes from the ceiling. It is the most solid/opaque layer of the project.
Layer 2: This layer is roofed and contains parts of the house such as the TV room and the kitchen. It is conditioned but can be fully opened to outdoors due to the movable glass walls around it.
Layer 3: This layer is created by extension of the roof. It is roofed but not conditioned.
Layer 4: This layer is non-roofed and non-conditioned. It houses spaces such as the living room and dining area. It defines the main interior walls of the villa, communicates with the outside through windows, and has the potential to merge with layers 2 and 3 if the glass walls are moved.
Layer 5: The final layer consists of the garden and greenery surrounding the villa on all sides similar to a kūshk. It establishes visual connections between the interior of the villa and the outside through windows in the walls.
These layers are formed by six L-shaped walls and a cantilevered roof. The two central walls bear the weight of the cantilevered roof, while the other four walls define the interior space of the villa.
Sanitary services have always been a point of architectural concern in many projects, and novel approaches have emerged in contemporary glass houses like Philip Johnson’s Glass House and Sou Fujimoto’s Public Glass. In line with the extension of this theme, the rooftop space is introduced as a platform within the villa, serving as a Reliefi-torium (مستراح: in Persian meaning both a toilet and a space of relief, similar to the old and literal meaning of a Restroom, diverging from it meaning to be public but rather the opposite, with an emphasis on tranquility). This 60-square-meter Reliefi-torium abstains from having a roof and walls, it offers unobstructed views of the surrounding rice paddies due to its elevated position and location within the plot.
Project Status: Built
Designer/Design Office Name: Omid Nikookar/ON Studio
Lead Architect/Designer Name: Omid Nikookar
Design Team Members: Lena Bahari, Mohammad Ali Razizadeh
Photographer: Deed Studio

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