Considering the historical and cultural importance of the Golestan region and the great historical heritage of this region, Golestan Museum is being built as a provincial museum in Gonbad-e Kavus city, and it includes the complete parts of a museum with the highest standard, which is used for preservation and protection, restoration of works, study and research. It will play a pivotal and central role in an important part of the historical land of Iran in the works and its presentation to the audience. The definition of this project in the city of Gonbad-e Kavus will have a significant impact on the growth of tourism in this city and other cities in the region on a national and global scale, and therefore the connection between the museum and the city and the site plays an important role in its design.

The museum building has been designed with an area of 7600 square meters on a 2-hectare land adjacent to the 5-hectare Dariush Park. The occupation area of the building is about 4500 square meters and the museum area covers an area of more than 15 thousand square meters, most of which has vegetation of various trees, especially eldar pine trees. 



**Site& The city**

The significant area and the proximity and direct connection of the site with a city park have given great importance to the landscape design of this complex. Designing the area of the museum building with public and cultural use is also considered an important issue in the design of such a collection because the landscape and open space will play a significant role in strengthening and defining the relationship of the audience with the collection. In fact, the museum area is an inseparable part of the museum building and it is the totality of the building and the area that defines the relationship of the museum with the city and with the audience as a single set. The governing approach to Golestan museum design is to consider the open space as an extension of the museum building and to try to combine architecture and landscape as much as possible in the complex.

**Design considerations**

According to the high volume of historical monuments discovered in the region and the value and greatness of the province's treasures and the lack of standard and sufficient reservoirs in the province, at the request of the Department of Cultural Heritage Museums, the reservoir section has been designed with a significant area of 1700 square meters, which includes storage reservoirs and sections restoration, quarantine, laboratory and research department. The administrative section is designed with a separate entrance in the southeast part of the site and in connection with the staff parking lot and the tank dock. The only part of the museum that is more than one floor high is the storage and administration part, which is designed on three floors.
It is possible to experience the garden from inside the building through the outdoor space of the coffee shop, which is a large terrace that is opened in front of the collection of towering pine trees on the site. The history of Gorgan region is inextricably linked with its special geography, the Turkmen Sahara plain and the Hyrkani forest of Golestan, and paying attention to the geographical features of the region, which has national and global value, can play an important role in introducing it to the audience. Based on this, in the design of the green space of the Golestan Museum, it is preferred to use native trees of the Golestan region, and it has been tried to create capacities to introduce the nature and ecosystem of the region to the audience by using these trees as much as possible. It is obvious that the climatic and operational restrictions such as the height of the site above sea level, the high level of underground water in the site and the presence of non-native trees on the ground, etc., make the selection of trees face limitations, but ultimately with this approach and considering all the requirements of green space design, appropriate and compatible plant species have been selected and used in garden design.



One of the sources of inspiration for the architectural design of the museum has been the way the space is formed and divided in the rural houses of Gorgan. The museum building has 4 main parts including public, exhibition, administrative and storage spaces. The public area, including the meeting hall and coffee shop, has been designed in such a way that it can be accessed and used when the exhibition parts of the museum are closed. The main spaces and galleries are formed around the central space of the yard in specific forms. The form of the building on its outer edge provides the possibility of penetration of the green space into the wall of the building with depressions and in this way the area and the building are interwoven. At the same time, the green space has penetrated into the building through patios in different parts of the building.
The exhibition section includes 5 galleries that introduce the historical periods of Gorgan region. These galleries are: "Four Climates and Legends", "Old Settlements and Historic City of Jurjan", "Gorgan Wall and Silence of Jurjan", "Estarabad, Road and Migration" and "Rainbow of People and these days’ Golestan"



The main idea in designing the site is to create openings in the green space that are connected to each other by defined paths. The formation and placement of these spatial centers is based on the distribution and density of existing trees. The museum building is located in a part of the site that has the lowest density of trees. The main opening in the site is a circular form that forms the central courtyard of the museum. The museum building is built on one floor around this courtyard. This circular form, which defines an empty space in the middle of the project, is the heart of the architectural and landscape space in which the entrance of the museum is located. In the entrance yard, a brick wall with a height of 10 meters will be built from the remaining bricks from the historical wall of Jurjan, which will be the main object of the museum in the entrance area and will be freely accessible and visited by the public. A gallery related to the historical part of Jurjan Wall has also been formed along this wall.
The idea of building this symbolic wall and collecting historical bricks emphasizes the use of people's participation in the construction process, which will be effective in increasing people's sense of belonging and recognizing the historical values of the region.




The Golestan Grand Museum introduces innovative design elements that blend architecture and landscape: a circular central courtyard, a symbolic 10-meter brick wall from the historical Gorgan Wall, integrated green spaces through patios and depressions, a large coffee shop terrace overlooking native pine trees, and a specialized storage and preservation section with restoration, quarantine, laboratory, and research facilities.



Golestan Museum emphasizes cultural sustainability and public engagement: involving the public in building the symbolic wall to strengthen cultural awareness, preserving and restoring historical artifacts, using native trees to educate visitors about the region’s ecosystem, and providing publicly accessible open spaces for cultural and educational interaction.



The Golestan Grand Museum is designed with careful attention to scale, creating a harmonious relationship with its surroundings. The building covers 7,600 m² on a 2-hectare site, while the total museum area, including gardens and open spaces, exceeds 15,000 m². Its footprint allows for abundant green spaces that blend seamlessly with the architecture. The museum sits beside the 5-hectare Dariush Park, connecting the cultural site to the city. The storage and preservation section, spanning 1,700 m² over three floors, provides ample space for safely housing and studying the region’s rich collection of artifacts.

Principal Architect

Project Manager

Project Team

Structural Engineering

under construction

Golestan Museum

cultural

Public Realm

In northern Iran, this shoreline villa overlooks the Caspian Sea. This location presented an opportunity to create a space that meets the needs of a modern villa while responding the humid, coastal climate.
The region’s humidity and rainfall required careful attention to ventilation, moisture control, and natural light. Incorporating a central courtyard - an unusual feature in this region –posed challenges for airflow and daylight. The roof’s slope was inverted, facing inward rather than the traditional outward, to improve sea views and light penetration.

The client envisioned a coastal family villa with uninterrupted views of the Caspian Sea. The design responds by balancing comfort and contemporary living with sensitivity to the region’s northern climate, while shaping spaces that fully embrace natural light, sea breezes, and the surrounding landscape.


The house is oriented so its iwan opens toward the sea to the north. A central courtyard channels the sea breeze throughout the home, promoting natural ventilation and cooling on warmer days. While courtyards are a hallmark of Iranian architecture, they are less common in the humid, temperate north. Here, its inclusion skillfully balances climate response with cultural form.

However, the inclusion of a courtyard in this design allows for more light to enter the home and lets the sea breeze  circulate throughout the interior. Similarly, instead of using an externally sloped roof typical of rainy climates, this design features an upturned foof. This shape provides better views of the sea and allow more light to enter. The building’s four corners taper inward toward the courtyard, which itself includes another feature unique for this area.










A unique feature merges the concepts of the Japanese onsen and the traditional Persian hoz: a private, shallow, and protected pool in of the courtyard. The sun’s path crosses directly above, creating an ideal space to soak up the sun and cool off undisturbed.



**Design consideration**

The design prioritizes natural ventilation and daylight to reduce energy consumption. Through courtyards, gardens, and a pool, it fosters comfort while respecting the natural environment, seamlessly integrating human experience with nature.

**Scales Considered in Design: **

**Site scale:**

Coastal plot with direct sea view and central courtyard

**Building scale:**

Roof, iwan, and courtyard designed for light, ventilation, and views

**Human scale:** 

Terraces, courtyard, and pool enhance outdoor living and comfort

**Landscape scale:**

Integration of courtyard, pool, and airflow to optimize environmental experience


**Landscape elements**

- **Central courtyard** in a humid, rainy climate
- **Shallow private pool** combining Japanese onsen and Iranian hozconcepts
- **Inverted roof slope** to maximize sea views and natural light


Developer

Electrical Engineer

Mechanical Engineering

Site Supervisor

Completed

Ferdows Town

Residential

## Site Description**

A 10-floor residential building is located at a crossroad in the heart of the old parklands of Northern Tehran (Shemiran), within walking distance of the Tajrish, bazaar. This area was used in the past as Yeylagh – a seasonal retreat for ancient transhumance practices, where communities moved to cooler, higher elevations during the summer. Once known for its sprawling princely gardens at the foothills of the towering Alborz Mountains, the neighborhood has transformed with the city’s growth. Today, it is one of Tehran’s most sought-after residential addresses, marked by the rise of modern towers. 



## Problematic  History

The building is designed for luxurious family and hospitality living while remaining faithful to the age-old princilpes of Persian architecture – namely, the distinction between the private inner chambers (Andarouni) and the public outer halls of the (Birouni). It comprises one 650m2 Penthouse unit with five bedrooms, three 430m2 duplex units with three or four bedrooms each, and six 410m2 mono-level apartments of unrivalled elegance, each with three or four bedrooms. Every unit includes three indoor parking spaces. All apartments feature a large living room, dining room and TV room, with an abundance of natural light throughout.




##  Inspiration

Our design is driven by the belief that the quality of the surroundings directly impacts the quality of life. We hold that thoughtful design should permeate every aspect of the building - from the exterior and lobby to the common areas and individual apartments.

Inspired by Iran's rich and ancient culture, the design uses color and material to achieve an elegance that blends tradition with modernity. Luxury is defined by esoteric beauty and finest-quality finishes but, most importantly, by tranquility and ease of living in an urban setting.  As a Firouz Firouz signature residence, this building embodies both a spirit of harmony and a feeling of peace, standing as a modern relic of Elayieh’s charming garden history.





## New Concept, System and Method

The Kouhyar façade mirrors the rich color palette of Persian rugs, blending blues, reds, yellows, and greens to transform the building into a joyful and inviting residence. The exterior is punctuated and set back to allow a floral ribbon of greenery in front of the floor-to-ceiling windows. A large private Eyvan (Iwan/Terrace) graces all units, offering residents a sensory experience of Tehran’s four dinstinct seasons.


Continuing the garden traditions of the neighbourhood, the Kuhyar building shares its green space with the cityscape, demonstrating a generosity of spirit. A magnificent drive-in “carriage” courtyard entrance welcomes residents and guests with the sound of a water cascade, the aroma of flowers, and two cypress trees, leading into a warm and panoramic lobby.

Firouz Firouz’s well-known style and reputation for fine craftsmanship and finishing impart a sense of well-being and comfort to the interior spaces, again though a considered combination of colors and textures.

At the entrance level, the residence features a unique pool spa area - encompassing a swimming pool, massage room, and saunas - flanked by a lush, naturally colorful private garden, a rarity in Tehran. A spacious fitness center again with its own private garden is also provided.




The landscape strategy of Kuhyar Residence reinterprets the principles of the traditional Persian garden within the framework of a vertical, urban apartment building. Instead of confining greenery to the ground plane or rooftop, the project introduces a continuous green ribbon—one that begins at the entrance courtyard, rises through recessed terraces, and ultimately unfolds into a rooftop garden overlooking the city.

This vertical continuity, combined with a drive-in garden courtyard at street level, creates a generous spatial threshold between the dense urban context and the private world of the residents. Here, landscape is not treated as a static backdrop, but as a lived experience—defined by changing light, seasonal scents, and shifting perspectives.

Private terraces, iwan-inspired balconies, and carefully framed green views extend this experience into everyday life, reaching even the pool and fitness areas. Nature becomes woven into the architecture, shaping how spaces are perceived, inhabited, and remembered.

The result is a rare and thoughtful integration of landscape within Tehran’s compact urban fabric—where greenery functions not as decoration, but as a living system tied to spatial identity, environmental quality, and sensory well-being.



## New Elements, Objects, Tools

At Kuhyar Residence, materials are curated to evoke cultural memory, tactility, and timeless elegance. In the pool area, bespoke hand-painted glazed tiles by a renowned Iranian artist depict iconic Iranian landscapes, from Mount Damavand to Tehran’s historic symbols, transforming the space into a visual and sensory experience.

The façade features metal louvers - not wood - adding a contemporary character while regulating light and privacy. Deep blue shades, basalt stone flooring in the parking areas, bronze detailing in elevators, and a refined mix of granite and wood in the lobby elevate the material quality throughout the building.

A highlight is the 100 m² lobby, inspired by traditional Iranian craftsmanship. It incorporates mirror mosaic (ayeneh-kari) and delicate plasterwork (gach-kari) combined with colored glass motifs from Shiraz. These elements create a warm, welcoming atmosphere rich in visual and cultural continuity.




## Culture Improvement

At Kuhyar Residence, the architectural design goes beyond aesthetics and function—it embodies a responsibility toward enhancing the quality of life. Rooted in the belief that the built environment deeply influences human well-being, the project emphasizes comfort, natural light, green integration, and emotional connection to place.

The design reinterprets traditional Iranian living patterns in a contemporary form, offering spaces that support family cohesion, privacy, tranquility, and cultural continuity. Every detail—from natural ventilation and views to serene lobbies and wellness amenities—is crafted to improve daily life.

In a fast-changing and high-density urban context like Tehran, Kuhyar serves as a model for how architecture can offer both physical and emotional refuge, reconnecting residents with nature, beauty, and a sense of belonging.


## Scale to Consider

The design of the Kuhyar Residence considers multiple scales—from the intimate sphere of family life to the larger urban context of modern, densely built Elahiyeh. Set within a contemporary high-density neighborhood, the project consciously redefines the relationship between residents and their environment through a focus on spatial quality, greenery, and light. Features such as green terraces, iwans, and generous natural lighting provide a layered experience that enhances everyday living across all scales.

Principal Artchitect

Electrical Engineering

Plaque 18

Tiles

**Introduction**

Beski Park and Cultural Center is a 17,000 m² civic project comprising a 15,500 m² urban park and a 2,100 m² cultural facility, located in the city of Gonbad, bordering the Hyrcanian Forest, a globally significant ecological zone and a UNESCO World Heritage Site, and the Golestan Biosphere Reserve in northern Iran.

Commissioned by the Sabzgaman Beski Institute, a local environmental NGO founded by the family of (in the memory of) the late Dr. Gholamali Beski - a physician and humanitarian - the project is dedicated to his legacy of environmental advocacy and ethical responsibility.
At the time of commission, the site was partially developed under a municipal scheme based on a traditional chahār-bāgh layout, with axial paths and multiple building footprints. Two structural shells from this earlier plan were retained and integrated into the new design, forming the basis for the adaptive reuse strategy that defines the Cultural Center.

The existing building, originally conceived as a library and educational facility, was adapted into a multifunctional cultural complex through the connection of two on-site structures via a first-floor bridge and the addition of two new volumes accommodating three multipurpose cultural venues. The extension was introduced with minimal visual impact, allowing the built form to merge with the landscape and cede visual primacy to topography and planting.




**Project goals**

The project aims to redefine the landscape as a representation of the unique natural character of Hyrcanian forests in North Iran and to recognize the ecological and cultural values of the Golestan Region.
The Park is dedicated to the memory of Dr. Gholam-Ali Beski – a physician, humanist, and environmentalist.
The project overally tries to expand the limits of the designed landscape to a greater national and international milieu and act as a catalyst in the sustainable social and cultural development of the Golestan region and the natural preservation of the Hyrcanian forests.



- Raising awareness about hyrcanian forests
- Supporting the preservation of hyrcanian forest
- Hommage to Dr Beski
- Re-shaping the identity of Gonbad city
- Empowering local community


**Concept**

The Hyrcanian forests as a “global natural heritage is a key concept in the main design approach of this project. These forests, together with the regional, national, and international functions of the project will link the designed landscape into a larger human and natural ecosystem. 
The proposed plants for Beski Park are a combination of Hyrcanian species and non-native ornamental plants.
The project overally tries to expand the limits of the designed landscape to a greater national and international milieu and act as a catalyst in the sustainable social and cultural development of the Golestan region and the natural preservation of the Hyrcanian forests.

**Topography Development**

Topography, as a design medium, reinterprets the landscape through references to the Hyrcanian forest. A sequence of artificial hills structures spatial experience, modulating enclosure and openness, framing views, and dissolving the flatness of the urban condition. The broad slopes act as informal ramps, enabling continuous movement across the park and direct access to the building’s upper level, thereby tightly integrating architecture and landscape into a single, legible system.
Topographical interventions on the site have created several hill-shaped areas which are vegetated with native plants of the region. The landforms shape a natural landscape. Each vegetated area is devoted to a unique “family of plants” that are usually found to live together in symbiosis in Hyrcanian forests. The planting concept adds both ecological and symbolic values to the park.
Beyond spatial and experiential roles, the constructed topography operates as an ecological infrastructure, addressing the site’s high groundwater level caused by impermeable soil layers and inadequate sewage systems. Elevating planting zones above saturated ground conditions protects root systems and enables a broader range of species to establish and thrive.
In shaping the project’s topography, we considered a range of design criteria and environmental factors:
- Views from inside to outside
- Natural landsacape and forest
- Defining relation of building and park
- Undergound water level and plantation consideration
- Human scale 
- Spatial organization within landscape

**Connection to site in different Scales**

We established multiple layers of connection with the city through various architectural and landscape strategies.

- Local scale: Restaurant, Music School, Playground, Shops...

- National & International scale:  Hyrcanian as a laboratory, Multifunctional Cultural Spaces




**Planting Plan**

The planting strategy, developed in collaboration with a Hyrcanian forest ecologist, draws on forest-layer symbiosis as a design principle. Each hill is dedicated to a specific plant community, reflecting species that coexist in the Hyrcanian forest, with selected combinations of native forest plants complemented by resilient, adaptable ornamental species. A transitional planting palette is proposed during the early years, gradually giving way to a shade-dependent forest understory as tree canopies mature

The proposed plants for Beski Park are a combination of Hyrcanian species and non-native ornamental plants.
We envisioned a two-phase strategy for planting.
In the first phase, ornamental plants suitable for the climate of Gonbad were introduced. Over the course of six months, these ornamental species are intended to be gradually replaced with native vegetation from the Hyrcanian forests, ensuring both ecological compatibility and long-term resilience.

In the second phase, a variety of plant species gradually identified and collected from the Hyrcanian forests are introduced. These species are planted once the site has been prepared to provide suitable conditions for their growth.
By selecting plants of varying sizes and incorporating evergreens, views are carefully controlled, directing the gaze as much as possible from the street toward the interior of the site.
The process is estimated to take a maximum of six years.

The Hyrcanian plants needed for this project are currently being propagated in a nursery founded specifically for this project. 



Within the created topography, each hill is dedicated to one of the main plant families of the Hyrcanian forest.This approach gives each zone its own unique atmosphere and ecologycal calendar.
These families include the following six groups:

- Alnus
- Popula
- Acer
- Parrotia persica
- Gleditsia caspica
- Quercus






**The Building**

The project’s program is structured to operate across local, regional, and global scales, positioning architecture as an active social and cultural agent. By integrating a cinema and theater complex alongside two additional multifunctional cultural venues, the project enables cultural production ranging from everyday urban use to international initiatives such as environmental film events, linking the park to wider ecological discourse. A music school, developed in response to community input, reinforces Turkmen musical heritage within a contemporary cultural framework. A restaurant accommodated within the existing structure and extended into the landscape supports daily public life. Collectively, the program situates architecture as a performative framework through which cultural, social, and environmental processes activate the site.




The project repositions architecture as a framework for cultural, ecological, and social engagement, fostering environmental awareness and strengthening connections between people and place in a context of environmental and socio-economic pressures. The design is guided by the core values of architecture as a social catalyst, evolving through sustained dialogue and collaboration with the local community. Equally central is the belief that sustainability and resilience are inherently local, arising from solutions grounded in the social, material, and ecological context.

The building façade employs traditional handmade brick with banded brickwork, creating alternating projections and recesses that provide passive shading in the region’s hot climate while referencing local architectural heritage. A green wall on the southern façade further moderates solar gain and enhances the microclimate. Together with the integration of volumes into the landscape and the surrounding topography, these strategies allow interior spaces to remain naturally cool, minimizing energy use and embedding the building sustainably within its context.


**Irrigation**

To enable this landscape in Gonbad’s arid climate, a groundwater extraction system was implemented as part of the project. This system makes use of the site’s underground water resources to support irrigation, addressing a critical environmental constraint and making the establishment of forest-based planting possible beyond the humid conditions of the Hyrcanian region. Water testing confirmed its suitability for irrigation use. Surplus extracted water is made available for off-site use, including local agricultural and other local demands, positioning the landscape as an active ecological and infrastructural interface.

**interdisciplinary and  collaborative process **

An essential aspect of Beski Park and Cultural Center is its interdisciplinary and collaborative process. The project evolved through sustained dialogue between the client, architects, consultants, and the local community, with iterative adjustments to program, materials, and construction details in response to budget, local capabilities, and community input. Central to the landscape strategy is the principle of continuity: the park is designed to evolve, mature, and adapt over time, shaping both ecological systems and participatory design processes. Realized within the constraints of economic and political instability, the project required resilience, adaptability, and iterative problem-solving, demonstrating that sustainability encompasses not only ecological performance but also long-term social and cultural viability. In this context of uncertainty, the project embodies a deliberate commitment to continuity and generational stewardship.


Principle Architect

Ecology and Planting Consultant

Civil and Structural Engineer

Mechanical Engineer

Beski Park and Cultural Center

Park


Building No. 23 is a residential project in Tehran’s Mahmoudieh district, designed in 2014 with construction completed in 2018. Its overall volume - a brick form referencing the common cube typology of Tehran apartments - establishes a different dialogue with the city through soft lines on the façade and curved surfaces at the corners.
The architectural idea here goes beyond a single concept based solely on form or function. It is instead a collection of ideas arising from an insight into the characteristics of Iranian culture and art, aiming to create a human architecture connected to the original qualities of this land’s architecture. These qualities emerge from color and materials, light and shadow, spatial connection, harmony, and the principles of coexistence between people and nature: brick, turquoise, plants, stone, tile, pattern, color, movement, space, sensation, stillness, observation, inside, outside, silence, sky, light, shadow, purity... and from how the combination of these elements creates an architectural language for a living space.





Designing Plaque 23 involved navigating a complex set of expectations: to deliver a high-end residential building that simultaneously responds to Tehran’s chaotic public realm. While commissioned as a private development, the project was also implicitly tasked with engaging the city, contributing to the street, and embodying a collective identity—all within the constraints of a limited urban plot, tight budget, and regulatory restrictions.

The client’s vision extended beyond conventional residential needs, seeking architectural presence, spatial poetry, and cultural resonance. Balancing artistic ambition with pragmatic demands required constant negotiation, iteration, and a commitment to architectural integrity. Ultimately, the project stands as a response to the unspoken demand for meaning, calm, and public connection in a city that often lacks all three.






The main volume of the building is placed on a base that forms the ground floor. This floor includes the entrance area, lobby, swimming pool and gym, with direct access to the courtyard, common spaces and apartment units. The pool area floats somewhere between the inside and outside of the building, where light, view and color are the main ingredients of the space.

In conversation with the street, the volume of the ground floor volume retreats from the main mass, establishing a relationship with the city through the curved brick surface of the surrounding wall. The connection between the main entrance and the street is defined by creating an empty space that acts as an extension of the city into the project site, also serving as an accessible space for drop-offs. The red brick used on the ground floor and in the façade openings -where the transparency, light and the suspension between inside and outside create a distinct quality of spatial communication- is replaced in places by turquoise glazed brick. By giving the openings a third dimension and turning them into an intermediate space, continuous porches have been created. These are edged with greenery, lengthening the depth and quality of the connection between inside and outside. 


A longitudinal axis in the plan defines the view and connection between the interior spaces of each apartment. This interface, whose primary function is circulation, links spaces of different sizes and uses. It is through this central space that the internal and external views are framed and the separation of public and private areas of the home is controlled.



An effort has been made to ensure the building is not merely an expression of architecture, but a space for human expression; for the presence of people and their connection with each other, with the city and with nature. It is intended as an environment blending a sense of familiarity with fantasy, creating a home as a space of peace, happiness and life.

Plaque 23 explores architecture through multiple carefully considered layers of scale to create a meaningful dialogue between the building, its users, and the city.
 
At the urban scale, the project steps back from the street, using a curved brick wall to establish a gentle, respectful connection with Tehran’s public realm.
At the architectural scale, soft edges and volumetric clarity define the building’s presence and rhythm.
At the threshold scale, the recessed ground floor becomes a mediating space between city and home, offering a moment of transition and openness.
At the human scale, handcrafted materials—curved bricks, turquoise-glazed tiles, wood joinery—invite touch, texture, and intimacy.
At the residential scale, a linear axis organizes spatial relationships within each apartment, enhancing flow and privacy.
And at the poetic scale, architecture becomes a canvas for memory, color, and light—drawing from Persian culture to create a place of calm, beauty, and rooted identity.
 
In Plaque 23, scale is not simply a matter of measurement—it is a design tool to shape experience, evoke emotion, and bring architecture into harmony with its cultural and physical context.




Plaque 23

**Introduction**

Etemad Garden is located in the village of Ahmadabad, a district of Damavand in eastern Tehran, nestled in the scenic foothills of the Alborz mountains. Situated in a region known for its fresh, cool climate, the property is a garden villa with an approximate area of 8,000 square meters. In the past, the garden encompassed a larger area, part of which was later separated and transferred to another owner. The restoration of the property was entrusted to the office of Firooz Firooz and Associates in the autumn of 2010 and () was completed in the autumn of 2012.
The central design approach for this project was to restore the site with minimal intervention while enriching the meaning and experience of the owner’s summer retreat. The placement of the existing facilities and buildings within the garden was largely preserved, while select structures were optimized according to the renovation plan to enhance their functionality. This strategy—balancing preservation with refinement—was driven by the intent to heighten the nostalgic and pleasurable qualities of the space for the owner.


On the western edge of the property, a triangular configuration of the main house (228 sqm, two stories), the guesthouse (56 sqm), and the swimming pool already existed. This arrangement held strong latent potential to foster a sense of gathering and create memorable perspectives. With carefully designed lighting, paving, and spatial axes, the area was reimagined as a dynamic setting capable of bringing family members together throughout the day for meals, relaxation, and shared leisure.

The Damavand Garden is structured around a principal longitudinal axis that links the eastern and western entrances, establishing the garden’s primary organizational framework and ensuring spatial coherence and internal unity throughout the site.

The western entrance, historically used for vehicular access, has been reconfigured as a private pedestrian entry. Upon entering from this gate, visitors encounter a terrace framed by the main building, a mature plane tree, and a reflecting pool. Positioned at the highest point of the garden, this terrace constitutes the most private area and offers panoramic views over the entire landscape, shaping the first perception of the garden as a unified spatial entity.

From this terrace, descending along the main axis provides a sequential spatial experience, as one moves through the fruit plots, engaging directly with the garden’s interior spaces. This pathway culminates at the eastern entrance, which accommodates both vehicular and pedestrian access and marks the transition between the garden’s private and public zones.

Two secondary north-south paths intersect the main axis, providing access to ancillary structures and support facilities, including the caretaker’s house, greenhouse, and parking areas. These pathways enhance functional connectivity while preserving the overall compositional integrity of the garden.


As Michel Foucault rightly states: “The historical Iranian garden was a sacred space, encompassing the four corners of the world within its quadrilateral layout, along with a more sacred central area that served as the focal point of the universe—where the pond and water channels converged. All the plants in the garden benefited equally from this ‘microcosm’ of the world.”

In Etemad garden, a square-shaped pond is located along the main axis at the center of the garden, defining a small spatial zone around itself. This pond, considered the “eye of God” within the garden, symbolically represents water and reflects the deep Iranian reverence for it, as well as their enduring admiration and love. Moreover, the water system performs multiple functions simultaneously: supplying water to different parts of the garden, irrigating plants, displaying water, and moderating the microclimate. In this system, the “juy” (water channels) play a prominent role. Flowing along pathways and at the base of trees, these channels both distribute and guide water presenting it in visually appealing ways. Traditional Iranian irrigation methods are employed in Etemad Garden: the garden beds are irrigated using the flood irrigation technique, while along the main axis, water flows continuously at the base of the trees. The view along the main garden avenue—a symmetrical street flanked by two water channels along orderly rows of trees—represents a quintessential Iranian landscape, a pattern still observable in streets and urban spaces across Iran today.


In Etemad Garden, the planting design has been carried out with consideration of the existing trees and buildings, following traditional Iranian garden planting principles. Along the main axis, cypress trees are interspersed among the existing fruit trees to create a symmetrical order and perspective. In the wider sections of the path, designed for vehicular access, a row of amber trees (Liquidambar) is planted on both sides of the axis, emphasizing the variation in path width, the hierarchy of spaces, and the distinction between more public and more private areas of the garden.

Around the buildings, planting patterns vary according to sightlines, views, and the functional use of space. Given that the main building is not located at the center along the main axis—contrary to the conventional geometry of Iranian gardens—the bed opposite this building contains shorter plants, shrubs, flowers, and groundcovers to preserve the primary view of the veranda. Meanwhile, an old plane tree and a row of Persian maples (Trebizian maples) along the pool establish focus and spatial enclosure, shaping this section of the garden as a coherent unit. Similarly, in front of the secondary building and greenhouse, small beds of vegetables and herbs have been planted, while shrubs like oleander around the caretaker’s house reduce visibility into the private areas of the garden.
Another fundamental principle of planting design in Etemad Garden is color planning and attention to the four seasons, a characteristic of Iranian gardens. Trees and flowers are selected and planted based on flower color, flowering season, fruiting period, autumn foliage color, and whether they are deciduous or evergreen.


The design of Damavand Garden became an occasion to revisit the tradition of Persian garden-making, to explore its inner essence, and to reflect on the values and hidden qualities it embodies.
Set on an irregular plot of land stretched along an east–west axis, Damavand Garden uses rows of poplar trees planted at its four corners to mark its boundaries - an allusion to the rectangular form of the Persian garden. This four-sided geometry, regardless of the constraints of topography, environment, or obstacles, defines the essential expanse of the Persian garden and is replicated in its smaller subdivisions as well.

Above all, the quadrilateral represents order. This order symbolizes the presence and mastery of humankind, distinguishing cultivated, re-created nature from the wild and untamed. In Damavand Garden, the emphasis on this form also carries symbolic meaning. The quadrilateral embodies the material and earthly realm and, in Islamic architecture, relates to the element of soil. It is a symbol of “human” and “nature,” standing in contrast to the circle, which signifies the “divine” and “celestial.” This reminds us that the garden is not a fragment of heavenly paradise but a terrestrial one—a piece of nature that sets itself apart from the outside world, seeking its beauty and perfection within.


Etemad Garden

landscape

Renovation

Nestled within a northern Iranian valley, this villa is conceived as a meditative getaway through a series of distinct gardens and terraces. The plot itself is wide at the meeting of the street frontage, gradually narrowing as it extends away, creating a perpendicularly linear form. This geometry allows the longer street-side wall to fully ensure privacy. as the land stretches along its north-south axis, the villa and its gardens ascend in levels, focusing the design vertically. The overarching aim was to integrate all the elements of a traditional Persian house - from the iwan to various garden forms like the baghcheh and sunken garden.




The design responded to several key challenges. The elongated, narrowing plot demanded careful spatial organization to balance program and circulation. A dual slope in the terrain presented construction difficulties but was transformed into a design opportunity. Providing ample natural light and ventilation was addressed through strategic orientation and openings, while separating public and private spaces across different levels was essential to maintain comfort and privacy for the family.



Access is provided by a tunnel entrance on one side of the site, allowing cars to reach a basement-level garage. Red brick insulated walls suit the clay-infused earth of Tehran. The building is set back from the street , separated  by a sequence of gardens and large hoz (garden pond) that leads to the ground floor iwan (Persian-style patio.) Public spaces occupy the lower level opening freely into the garden, while more private rooms are located upstairs. Throughout, cross ventilation through the structure and yard functions as a passive cooling system. 


Overlooking the gardens and orchard to the front, an upper floor terrace baharkhab – a space for sleeping outdoors in warmer months – was included. The gardens form the heart of the villa, which is positioned centrally toward the rear of the property. A hanging garden lines one wall, while a scented garden along the opposite wall leads to a traditional Persian “sunken garden” at the back.




The project integrates several innovative architectural and environmental strategies. A  passive ventilation system orients the building on a north–south axis, with large openings to the north and south while minimal east–west exposure. The pool cools and humidifies incoming breezes, enhancing thermal comfort. The two-story iwan blocks harsh summer sun yet admits winter sunlight , while also improving airflow – an effect strenghtened by the second-floor setback. Locally sourced traditional brickwork is reimagined with modern insulation, merging cultural heritage with energy-efficient technology.



Further innovations include a green roof, a vehicule tunnel, and the cooling pool. Traditional elements like the iwan and sunken garden are reinterpreted to optimize daylight and ventilation, while insulated walls and thermal-break windows boost energy efficiency.


Respect for nature and people and heritage guided the entire endeavor. By adapting to the natural topography, the design minimized unnecessary earthwork and preserved the site’s integrity. Gardens, pools, a sunken courtyard, and a green roof, weave the built space into the landscape. Sustainable materials such as recyclable brick and energy-efficient glazing reduce environmental impact. At the same time, the project revives elements of Iranian architectural identity – through mirrorwork, tilework, and spatial hierarchy – strengthening cultural continuity while meeting the needs of contemporary life.

The design carefully considers multiple scales, from the site to human experience. The elongated 1,590 m² plot with a dual slope influenced the building’s layout, minimizing excavation and integrating terraced gardens. The 1,395 m², three-story building balances public spaces on the ground floor with private areas above, while setbacks create circulation around the house. Human-scale elements, including terraces, the baharkhab, sunken courtyard, and gardens, enhance outdoor living and comfort. Architectural features like the double-height iwan, pool, and green roof serve both functional and environmental purposes, supporting daylight, ventilation, and leisure.


Brick House

The Morshedi Carpet Museum is located within the historic fabric of Kashan, one of Iran’s most renowned carpet-weaving centers. The project site was relatively small and embedded in the dense urban texture, creating unique design challenges. The solution was to expand the building downward, forming three underground levels organized around a central lightwell and a tree that grows through the heart of the museum. This tree, visible from all floors, symbolizes life and continuity while establishing a dialogue between architecture and nature. The exterior is constructed with kāhgel (traditional mud plaster), a local and sustainable material that evokes Kashan’s desert architecture and harmonizes with its historic context.


The client, Ali Morshedi—a prominent figure in Kashan’s carpet-weaving tradition—commissioned the project to preserve, exhibit, and narrate his family’s heritage and workshop productions. The primary concern was to create a space that would safeguard carpets as cultural treasures while presenting them to the public. The limited plot size and the need to combine exhibition, education, and storytelling functions within a compact setting posed the project’s key challenge.

The design is inspired by Kashan’s carpet motifs—such as medallion, corner, floral, and hunting patterns—as well as the logic of desert architecture. Vaults, domes, and lattice skylights are reinterpreted in the project to reinforce a sense of place rooted in Iranian identity. Circulation within the museum is intentionally open and non-linear, allowing visitors to shape personal journeys of discovery. The central tree and its natural light anchor the design, creating a distinct and human-centered spatial experience.
 



The museum is not only an exhibition space but also a platform for experience and education. A key innovation is the introduction of “Philosophical Carpets”—a contemporary concept intertwining patterns, poetry, and nature. Dedicated zones for weaving and dyeing enable visitors to engage with the creative process as well as the final product.


The museum introduces carefully designed display systems:
•	Anti-scratch, anti-reflective plexiglass showcases.
•	Velcro-based hanging methods to protect carpets.
•	Interactive touchscreens for engaging with motifs and colors.
•	Ancillary exhibits, including natural dye powders, yarns, and weaving tools, enriching the narrative.



The Morshedi Carpet Museum carries a social responsibility as a cultural hub: preserving one of Iran’s oldest crafts and passing it on to future generations. Educational and interactive sections for children and teenagers, family and school programs, and the retelling of Kashan’s carpet history all contribute to cultural enrichment and a deeper public connection with heritage.




The project operates across three design scales:
•	Urban scale: engaging with Kashan’s historic fabric and employing kāhgel, a vernacular desert material, in harmony with the local context.
•	Architectural scale: three underground levels are organized around a central lightwell and a tree that visually and spatially connects all floors.
•	Detail scale: showcasing the smallest elements of carpet-making—from yarn and natural dyes to weaving tools—so visitors can perceive the craft in layered depth.




Museum Curator

Idea

Morshedi Museum I

**A Cultural Hub, A Global Heritage Site**


In the large scale, the vision of this project is to promote the rebirth of Aleppo’s city center as a global heritage site. 
The site is located at the foot of the Citadel that embodies the heritage and identity of Aleppo. The area holds a huge potential to act as a vibrant cultural hub on a regional level. The city’s identity is forged by the overlapping layers of many different rich cultures that over the course of time has led to the creation of a rich urban space. Defying the physical boundaries, Aleppo can reach international exposure with its heritage.
In the longer run and after the reconstruction of the city, the plaza and the cultural center, together with the Citadel, the Souk and the historical monuments, will reshape the heart of Aleppo and its public spaces into a cultural gathering zone not only for the tourists but for the people of Aleppo.




The war in Aleppo has created a temporal gap and divided the time into two parts of “before” and “after” the war. To join these pieces there will be a need to create a “Space-Time” that serves as a transcultural spatial-temporal actor of change. 
The concept of Space-Time which is an interpretation of the Japanese Shinto Zen Buddhist concept of “Ma”, is introduced in architecture by Arata Isozaki and has been discussed in various art and cultural contexts. “Ma” refers to the gap/void between things, people and events through which these connect and build interrelations.



Above the ground level the project is a palm grove/plaza which forms a public urban space connecting with the pedestrian zones, the Citadel perimeter, the Souk and the historical monuments. The plaza will be the confluence of large-scale social gatherings in front of the Citadel. 
In the center of the plaza the “Mirror Courtyard” is designed as a memorial space to honor the memory of lost lives in the war. Under the ground level the project is a cultural center that incorporates art galleries, cinemas, a theater, children’s activity zone, a library, cultural shops, cafés, etc., forming a vibrant and active multifunctional space. 
The key idea is to create a place that belongs to everyone; to create a public space that re-gathers people from different social groups and forms a platform for “coexistence”. Also, we believe that the historical city center of Aleppo can be revitalized through a cultural approach. In a larger scale our project has the potential to act as a cultural hub that together with the Citadel, the Souk, the historical monuments and the open spaces will reinvigorate the city center.



**Co-Existence**


The project proposes the reshaping of one of the important sites of the city center of Aleppo into a plaza that re-gathers people for social and cultural interactions. The design concept is an urban void that shapes a transitional space where visitors can experience the continuity of time, from the past into the future.



**The Transition, The Timelessness**


The proposed design forms an urban plaza and a cultural center that gathers various social groups. An urban void full of potentials for people to create relations, build new collective memories and make place.
The geometry of design has a connection with the geometry of the Grand Serai building, previously located in the site. The void space of the old courtyard has formed the memorial space, and the main entrance is along the axis of the garden.
The Mirror Wall has an internal and external function: The outside reflects the ever-changing city, the Citadel and the dynamism of the vibrant public space. Over time it will reflect the process of reconstruction of the city and the movement from destruction to development and prosperity. The inside reflects the boundlessness of an unchanging space. This silent and meditative courtyard is “a timeless space” that encapsulates the memory of war.  On the inside walls the names of more than 30,000 victims of Aleppo war will be engraved. 



**The Fragility of Peace**


The city of Aleppo has witnessed many cycles of destruction and reconstruction throughout history. Over the time it’s been the scene of conflict, war, and crisis and each time it has passed through towards a richer future. The proposed architecture tries to stress the importance of remembering that the peace is fragile in its essence and needs to be protected and cared for to survive. The Mirror Wall – constantly reflecting the image of the city and its people – illustrates the dynamism and the movement of the city which can be from war to peace and from destruction to prosperity or vice versa.  At the same time the fragility of the mirror is a reminder of the delicacy of peace and invites the people to attend in its conservation. 
The portrait of the project overall represents nothing but people in a palm grove, which symbolically acknowledges the fact that although the city and the architecture might be ruined and reconstructed repeatedly, ultimately, it’s the reflection of how the people coexist with each other and their environment that builds the image and the identity of the city.



**Urban Scale **
The project reshapes one of the important sites of Aleppo city center into a public plaza, connecting with pedestrian zones, the Citadel, the Souk, and other historical monuments.
It acts as a cultural hub at a regional scale, revitalizing the city center and linking multiple historical layers.
**Human Scale **
The plaza and “Mirror Courtyard” are designed for large social gatherings while remaining accessible and intimate for individuals and small groups.
The ground-level palm grove/plaza is intended to allow people to reclaim civic space and experience coexistence.
**Functional/Operational Scale **
Underground cultural center includes art galleries, cinemas, theater, children’s activity zones, library, cultural shops, cafés, forming a multifunctional space that supports diverse cultural activities.
The “Mirror Wall” has both external and internal scales: it interacts with the city scale outside and creates a meditative, timeless interior scale for remembrance.
**Temporal Scale **
The design bridges the temporal void caused by war, linking past, present, and future through the concept of “urban void” and “space-time”.
It allows continuity of memory and social interaction across generations.


Co-existence

Saman Mansion is located just one block from Enghelab Street, one of the most significant streets in Tehran and Iran. Over the decades, Enghelab has served as a stage for countless artistic, cultural, and social movements, shaping the city’s identity. Built during the same period as the street itself, Saman Mansion shares in this historical context. Its proximity to Enghelab has woven the mansion into the street’s vibrant flow of life, making it more than a building—an inseparable part of Tehran’s living history.

Saman Mansion is a historical building with a legacy of nearly 100 years, located in an affluent district of old Tehran. Based on field surveys, archival research, and analysis of aerial photographs from 1940 (1319 SH) and 1956 (1335 SH), it is likely that the building was constructed between 1921 and 1961 (1300–1340 SH). This period is recognized as the "Middle Period of Contemporary Iranian Architecture," reflecting the influence of modernity on Iranian architectural practice.

Originally built as a private residence, the mansion was later repurposed. In the 1960s and 1970s (1340s and 1350s SH), it served as the office for KSB Company, a firm active in the field of large-scale water treatment infrastructure and the import of German industrial equipment. Subsequently, the building came under the ownership of Saman Bank.

Architectural features such as its three-story structure with a semi-basement level, high ceilings, reinforced concrete construction, and the distinctive circular room on the middle floor have drawn the attention of architects and researchers alike. Preliminary studies suggest that the building was likely designed by foreign architects—possibly German or Italian—and its structure shows influences from ship forms and decks.

The mansion’s courtyard once included a lush garden and a water basin, which have since been replaced by asphalt paving and a temporary roof structure.

Saman Mansion stands as a symbol of the interaction between Iranian architecture and foreign influences in the contemporary era, highlighting its unique status in the architectural and social history of Tehran.




Following an evaluation of the building’s potential, the architectural design of Saman Mansion was developed with the aim of introducing cultural and research-oriented functions. The design process included preparing the project’s physical program, analyzing required functions, exploring vertical circulation options, and organizing spatial arrangements.

**Spatial Layout:**
Second Basement Level: Dedicated to a studio and sound recording room.

First Basement Level: Includes public spaces such as a multi-purpose hall and an art shop, both with direct access to the courtyard.

Ground Floor and First Floor: Allocated for public and private exhibition spaces.

Art Storage Vault: Located beneath the courtyard with appropriate security and access control measures.

Added Second Floor: Contains administrative offices for managers and staff.

Complementary Facilities:
Courtyard and Café: A green garden stretching from south to north, with the restoration of the original water basin and an open-air café offering a calm and inviting atmosphere.

Security Room, Caretaker's Unit, Public Restrooms, and Storage: Designed to ensure comprehensive support services for the complex.

Key Spatial Features:
Northern Corridor: Enriched with a green wall and climbing plants, creating a refreshing and immersive experience.

Conversation Room: A circular room at the heart of the building, designed as a reflective and contemplative space, lit through distinctive openings.

Galleries: Preserving the historic character of the mansion while providing optimal lighting, acoustics, cooling, and heating for art exhibitions.

Art Shop: Located in the former kitchen, featuring a vaulted brick ceiling and a tranquil interior design.

Multi-purpose Hall: Equipped with foldable seating, acoustic panels, and curtains for sound and light control.

Design Objective:
To create a distinctive environment that preserves the historical authenticity of the building while meeting the cultural, research, and social needs of its visitors and users.



The renovation and strengthening of Saman Mansion utilizes a modern and innovative method that significantly departs from traditional structural reinforcement techniques. Key features include:

Instead of conventional concrete ties and steel frames, carbon fiber (FRCM) and alkali-resistant fiberglass mesh (ARFM) are used in the form of surface-mounted strips on structural walls.

This method minimizes physical intervention and damage to the original historic fabric, maintaining architectural integrity.

Structural elements are integrated seamlessly with architectural components, ensuring spatial harmony while enhancing seismic performance.

As a lightweight, flexible, and non-invasive approach, this method represents a new engineering strategy for retrofitting historic buildings, balancing preservation with performance.




The technical upgrade of Saman Mansion includes several modern systems and devices, installed to enhance both function and compatibility with the historic building. These include:

Carbon fiber and fiberglass mesh for seismic strengthening.

A VRF system for cooling and heating in the basement levels, and ducted split units in the upper floors, selected for their low visual and acoustic impact.

A rooftop AirWasher unit supplying fresh air through ducts aligned along the western façade.

SuperVent one-way valves for the venting system, reducing the need for visible vent pipes and minimizing wall damage.

Upgraded electrical panels and lighting systems, suitable for cultural functions.

New plumbing and cabling, with vertical risers designed to preserve the structure and ensure maintenance access.

These systems allow the building to meet contemporary technical standards while preserving its architectural character and historic integrity.


The adaptive reuse of Saman Mansion as a cultural and research center reflects a strong social responsibility toward heritage preservation and civic engagement. The project contributes to society by:

Conserving and revitalizing a significant architectural example from the transitional period of Iranian architecture.

Providing inclusive, public access to spaces for exhibitions, cultural events, research, and gatherings.

Supporting urban regeneration in a historic neighborhood through preservation rather than demolition.

Raising public awareness about the value of architectural heritage and promoting long-term stewardship of historical assets.




The design and interventions in the Saman Mansion project are carefully scaled in response to both human experience and urban context:

The site is located just beyond the historical city wall near Dowlat Gate, within a culturally significant part of north Tehran.

The functional scale of interior spaces is adapted to serve a balanced combination of exhibition, public, and administrative uses without overwhelming the original form.

The limited vertical extension (second-floor addition) and reprogramming of the basement levels maintain a respectful dialogue between historical architecture and new use.

The courtyard redesign considers social and interactive dimensions, transforming it into a public landscape for cultural exchange, relaxation, and community interaction.




Saman Gallery

The project occupies a 469.56 m² plot in Golestan Town, Tehran. Situated within a relatively dense urban context, the design required careful spatial organization. The entrance was placed along the central axis of the site, while the two main volumes were arranged to the east and west. The brick façade combined with wooden shutters reflects a simple yet deeply rooted vocabulary of Iranian architecture.




Usually, in most of the designs that are assigned to a land with this area, access is from one side of the building and each unit is located on the same floor. Here, as seen in the diagrams, the entrance is located in the center of the earth, and the two boys' units are located in the west and east of the earth. The mother and father’s duplex unit is built on the second and third floors around a central main space with a brick dome that shines indirectly. The adjacent spaces of this main space are opened together.
The third floor is surrounded by a domed space and consists of a corridor, two bedrooms and a studio. The studio opens from the south to a porch and from the north to a dome space. Natural light has been created for all spaces. In the basement, a crack in the ceiling fills the pool area with soft light.
In the dome room and the library, the porch and the toilet, space and light create peace. Light, space and spatial arrangement can create a better coexistence.


The design is inspired by the coexistence and embracing of three spaces together. The house is located in district 22 in an alley where each piece of land has its own personality and shows itself. On the other hand, this house, with a simple brick facade and wooden shutters, shows a house for a rooted family.
At the entrance of the house, a small pool welcomes you and you enter the boys' houses from both sides, which go up from the ground floor to the first floor, and have one bedroom on the ground floor and one bedroom on the first floor. The effort in the design was to have two duplexes for the boys to have access to the mother and father's duplex from within themselves, which has been made possible by installing two inside each of the units towards the parent's duplex.


The design is inspired by the concept of “One House, Two Generations, Three Units.” In section, three duplex volumes interlock: two duplexes for the sons on either side of the entrance courtyard, and one duplex for the parents above. At the core lies a central brick dome, illuminated by indirect light, functioning as a shared spatial heart that opens to the library and surrounding rooms. The entrance pond and carefully placed skylights bring tranquility and continuity throughout.



•	A brick dome with indirect lighting as the central spatial element.
•	Movable wooden shutters enabling light and ventilation control.
•	A roof slit illuminating the basement pool with natural light.
•	A material palette of brick, wood, and turquoise tiles creating a contemporary yet rooted atmosphere.



This project redefines multi-generational housing within Iran’s contemporary urban fabric. Its design promotes values of coexistence, respecting individual independence while reinforcing family bonds. The use of vernacular materials such as brick and wood recalls traditional Iranian architecture, offering a model for reconnecting modern residential design with cultural roots.



•	Urban scale: A modest brick volume within the Golestan Town context, reinforcing local identity.
•	Architectural scale: Three duplexes organized around a central domed space.
•	Detail scale: Wooden shutters, turquoise tiling, and lighting details enrich the human experience of the home.



One House, Two Generations, Three Units

The design of the Anjir Residential Complex is situated on a non-divided plot of land measuring 24,339 square meters, approximately 350 meters from the northern shore of Abu Musa Island. The site coverage accounts for 22% of the total land area, with a building density of 80%, while 40% of the site is dedicated to open and interstitial spaces.
This project, adopting a holistic approach to climatic, ecological, economic, and cultural aspects, draws inspiration from the concept of the Persian Chaharbagh. It not only seeks to express physical beauty and spatial harmony in architecture and urban design but also serves as a symbol of the connection between nature and spirituality in the way of living.

One of the main challenges of the project was to align the design criteria of the houses with the local climate and the competition’s requirements. Another key consideration was the placement of buildings and access routes to ensure proper air circulation throughout the site, allowing the sea breeze to flow inland and prevent humidity accumulation. Additional challenges included providing adequate parking, ensuring a reliable water supply for residents and green spaces, utilizing solar energy, and strategically positioning photovoltaic panels to generate part of the project’s electricity. Moreover, the selection of plant species compatible with the island’s climate and low water requirements was a crucial aspect of the landscape design, promoting environmental sustainability and efficient use of natural resources.

Adopting a holistic approach to the climatic, ecological, economic, and cultural dimensions, and inspired by the Persian Chaharbagh concept, this design goes beyond the mere expression of architectural and urban harmony. It stands as a symbol of the connection between nature, humanity, and spirituality within contemporary living.

The design process draws inspiration from the Persian Chaharbagh concept and adopts a holistic approach to climate, ecology, culture, and local economy. Spatial organization is conceived to enhance the interaction between people and nature, using vernacular principles such as shade, courtyards, and intermediate spaces to balance interior and exterior realms. Throughout the process, environmental sustainability and the use of localized materials and construction techniques serve as the core principles of the design philosophy.

This project introduces a new concept of island living, structured around the Chaharbagh spatial system and utilizing lightweight, prefabricated, and nature-reversible structures. This method not only reduces construction time and environmental impact but also enables flexibility in housing typologies and optimization of natural ventilation and energy use. The integration of greywater recycling, surface water collection, and a design approach responsive to wind and solar potential further defines the project’s innovative sustainability system.


The project incorporates new elements, objects, and tools that enhance environmental and spatial quality while preserving the island’s vernacular identity. These include lightweight prefabricated structures with eco-reversible properties, moisture-resistant façades with calculated thermal transfer coefficients adapted to the island’s climate, and photovoltaic panels for solar energy generation. Additionally, the use of movable woven canopies in the seasonal marketplace and shaded transitional spaces introduces innovative tools aimed at improving thermal comfort and promoting climatic sustainability within the design.

The landscape design of the project allocates over 30% of the total site area to open, intermediate, communal, and shared spaces, emphasizing the planting and maintenance of native and climate-adapted species such as fig, palm, neem, musk, almond, and tecoma. The project utilizes the existing desalination systems, incorporates surface water collection during cooler seasons, and introduces a greywater recycling cycle to promote sustainable resource use and encourage a culture of environmental awareness among residents. In line with the competition’s requirements and to foster a sense of vitality and belonging, a seasonal market with movable woven shading is placed along the main Chaharbagh axis, culminating in a viewing platform that frames the island’s natural scenery.

The project embraces a socially responsible approach focused on enhancing quality of life and fostering environmental awareness among the island’s residents. Through the design of shared open spaces, pedestrian paths, and a seasonal marketplace, it encourages social interaction, collective learning, and a sense of responsibility toward nature. The use of sustainable resources, water management systems, and climate-responsive design serves not only as a strategy for sustainability but also as a cultural tool for improving community awareness and lifestyle.

The design operates across multiple scales of consideration, balancing human proportions, island climate, and site organization. Spatial planning ensures harmony between residential units, open spaces, and the central Chaharbagh axis, while allowing a gradual and intuitive spatial perception from private to communal realms. This approach establishes a human-centered yet climate-responsive scale, fostering a sense of coherence between individual life, community interaction, and the natural environment.

Principal Architecture

Ecology

Urban planning consultants

Anjir Residential Town

Hypothetical location of the site is the Kashan region and outside the urban context. Altitude is 1000 meters above sea level.
Sitting on the edge of the desert, this villa connects to the landscape through panoramic views, witnessing the passage of time at the rhythm set by nature: extended horizon, the dry, silence, the sizzling sun; deep shadows and ivory white light.
The main challenge is maintaining the indoor temperature while providing air circulation throughout the building, considering the need for insulation due to extreme, fluctuating temperatures.




“Villa in the Desert" is a prototype of a villa in the deserts of Iran.
A large part of the Iranian plateau has arid climate. Many areas in these landscapes are estimated to be uninhabitable according to today’s environmental assessment methods; yet, the history of civilization in these areas goes back for thousands of years. Throughout history, Iranians have responded to sustainable design challenges in Iran's diverse climates by providing various types of architecture that have evolved over time in this territory. In the desert, these responses are mainly represented in the form of introvert architecture with central courtyards.
“Villa in the desert” responds to the challenges of desert dwelling with simple, modern language while adapting itself to its environment like a living organism. 



A block-like shape defines the exterior of the design, where concentric layers of materials appropriately insulate the walls according to their location relative to the sun. This concept of layering in the external skin manifests as a glass house in a mud shell. At the east, south and west façade, the outer wall, made of rammed earth, is pierced by small variable openings. The middle layer is a covered corridor And the inside wall is made of movable glass louvers. The north wall is framed by large glass openings.

Sitting on a north-south axis, the building can be configured to make the most of an east-west airflow while avoiding direct rays of the sun inside. 
Like a nomadic tent woven from goat wool the mud wall lets the light pierce through small openings showering the dark space with shafts of light in which you see the dance of particles. 
The hot desert wind passing through the openings reaches the shadowed area, cools down, and then it is dragged through the moving louver windows inside. 
Ventilation is created on both the eastern and western perforated walls, pulling the air through a corridor passing across and out the interior courtyard, cooled by the greenery there. 
The central space itself with its curved ceiling and open plan design is bathed in the lights coming in through the central courtyard.
Three major openings frame large views extending to the infinite: The south Iwan , the north entrance bay window looking into the north yard, and the light-well of the central courtyard which opens towards the sky.


**Layered Skin:** On the southern façade, successive layers of mud and glass are applied to optimize thermal insulation and solar control. This system allows the house to adapt to its harsh desert environment like a living organism. On the northern side, where there is no direct sunlight, wider openings are possible, and the temperature difference between sun and shade naturally enhances air circulation.
**
Water–Wind Combination:** Warm desert winds are guided through shaded areas and across a water channel, enabling natural cooling. This strategy provides a sustainable alternative to energy-intensive mechanical systems.

**Natural Daylighting through Small Openings:** Inspired by nomadic tents, the mud walls are punctuated with small apertures that allow filtered light to enter. These shafts of light create a poetic interplay of brightness and shadow, enriching the spatial experience.

**Adaptive Architecture:** The cubic modern form of the building is combined with traditional elements such as the Iwan, central courtyard, and thick walls. This synthesis produces an architecture that is at once contemporary, vernacular, and sustainable.

In the design of the Desert Villa, social responsibility has been considered as a fundamental aspect of the project. This approach is reflected in respecting the desert climate and natural context, optimizing natural light and ventilation, and reducing energy consumption. Moreover, inspiration from vernacular architectural elements such as the Iwan and the central courtyard not only creates a cultural bridge between past and present but also signifies a commitment to preserving local identity and enhancing the quality of life in harmony with the surrounding environment.

Villa in the Desert

## Light, Life, and the Spirit of the Sun

In the heart of this work lies a dialogue between light and memory.
The “Sun Lady” is more than an image — she is a symbol of life, warmth, and rebirth.
Inspired by the eternal presence of the sun in Persian art and poetry, this piece reflects the philosophy of architecture as coexistence:
to create with love, to return beauty to the earth, and to let art breathe within architecture.

## Collaborative Creation

For Firouz Firouz, architecture is never a solitary act.
Each project becomes a meeting point for artists, artisans, and materials —
a shared process of creation.
The “Sun Lady” was painted by Noormiyan Manouchehri, whose brush brought the spirit of the sun to life on paper.
Later, Bahareh Khamiri, with the artist’s collaboration, transferred every layer of this painting onto ceramic tiles —
a gesture of respect toward the handcraft tradition that bridges art and architecture.

## Technique and Process

The mural was painted layer by layer, glazed multiple times, and fired in the kiln —
each stage revealing a deeper luminosity.
The surface carries both the precision of craftsmanship and the spontaneity of painting,
capturing movement in stillness and light in texture.
It’s not just ceramic — it’s a living skin that absorbs and reflects the surrounding light.

## Integration within Architecture

Installed by the poolside, the mural mirrors itself in the still water,
creating a dialogue between reflection and reality.
The turquoise and gold tones echo the geometry of the pool tiles,
while the vertical cypresses rise like silent guardians of light.
Here, architecture does not host art — it becomes one with it.
The mural breathes with the space, changing with daylight and shadow.

## Philosophy: The Art of Coexistence

 architecture is an act of love — a space where art, material, and nature live in harmony.
“The Sun Lady” is a reminder that beauty emerges when disciplines meet,
when architecture listens to painting,
and when the earth is invited to speak through craft.
It is not decoration; it is a manifestation of unity —
between sun and shadow, water and wall, art and life.

Painter

Ceramic Artist

Khorshid khanoom

The Morshedi Carpet Museum is located within the historic fabric of Kashan, one of Iran’s most renowned carpet-weaving centers. The project site was relatively small and embedded in the dense urban texture, creating unique design challenges. The solution was to expand the building downward, forming three underground levels organized around a central lightwell and a tree that grows through the heart of the museum. This tree, visible from all floors, symbolizes life and continuity while establishing a dialogue between architecture and nature. The exterior is constructed with kāhgel (traditional mud plaster), a local and sustainable material that evokes Kashan’s desert architecture and harmonizes with its historic context.

The Morshedi Carpet Museum carries a social responsibility as a cultural hub: preserving one of Iran’s oldest crafts and passing it on to future generations. Educational and interactive sections for children and teenagers, family and school programs, and the retelling of Kashan’s carpet history all contribute to cultural enrichment and a deeper public connection with heritage.

The project is defined and designed across three interconnected scales.
At the urban scale, the building engages with Kashan’s historic fabric, employing vernacular materials such as kāhgel and forms derived from desert architecture to achieve harmony with its surrounding context.

At the architectural scale, the spatial organization unfolds across three levels: the basement accommodates administrative functions, the ground floor houses the museum and gallery spaces, and the first floor is dedicated to the Morshedi Restaurant. All levels are organized around a central lightwell and a tree that visually and conceptually connects the entire building.

At the detail scale, the focus shifts to the precise presentation of carpet-making elements—from yarn and natural dyes to weaving tools—allowing visitors to experience the art of carpet weaving in layered depth.

Morshedi Carpet Museum

## Introduction & Approach to the Building


To understand a city, one must step into its back alleys
and sense architecture not only through the eyes,
but through memory, light, and material.

Etemad House felt exactly like that a building that whispered
its design path at first glance.It needed no demolition it required listening.

In this project, the approach was not to build, but to reinterpret
designing by not redesigning; preserving authenticity, reframing function,
and honoring the history embedded within the architecture.


## Relationship with the Past

This 1960s building already held a distinct personality.
The fifty-year-old cypress, the wisteria vines, the pomegranate by the wall —
not decorative components, but fragments of architectural memory.

Our role was not to recreate the past,
but to allow its breath to continue.

Thus, the project followed a minimal-intervention path:
restoration without erasure,
transformation without wiping away previous layers.

##  Vegetation as Memory & Living Material


The courtyard, like the building itself, was old yet alive.
Climbing Wisteria and Jasmine already held the façade in memory.
To accelerate greenery and continuity, Dutch Jasmine was added —
allowing the garden and the architecture to continue speaking to each other.

Here, nature is not decoration —
it is a breathing partner in design.

## Entrances, Access & Urban Dialogue


The project received two entrances — each with its own language:

🔹 Main Entrance — Shiroudi Street
Travertine façade, the presence of an old cypress as a natural landmark,
and a single preserved opening framing its silhouette toward the city.

🔹 Secondary Entrance — Jamal Alley
Traditional two-tone Ablagh brickwork, echoing the texture of the neighborhood
and maintaining its cultural continuity.

Two doors — one story.

##  From House to Gallery — Light, Movement & Pause


Changing a residence into a gallery meant transforming space into quiet.
Almost all windows were closed to control focus,
except the axis facing the cypress —
a deliberate frame, an invitation to contemplation.

Light became a tool rather than a backdrop;
movement through space found an architectural rhythm.

## Structure, Reinforcement & Technical Execution


Structurally, the house was habitable,
yet insufficient for its new public function.
To ensure long-term stability and spatial confidence,
three shear walls and seven piles were added.

Some partitions were removed to create depth,
openness, and proper exhibition flow.

This phase demonstrated how architecture can negotiate
between structural safety and visual freedom.

## Simplicity, Authenticity, Continuity



In the end, the decision was simple:
the building must remain itself  unpretentious, honest, grounded.

The staircase and rails, the Ablagh bricks, the travertine,
the cypress and the pomegranate tree all stayed, 
so the house could tell its story in a new robe.

This project did not seek to change the building’s face,
but to extend its life  quietly, respectfully, continuously.

Graphic Designers

Structural Engineer

Contractor

Etemad Gallery

Located in Chizar, Kamranieh, Tehran, the project occupies a 1,330 m² urban site shaped by contrasting spatial potentials. While the southern edge directly engages Golbarg Street, the northern side opens toward mountain views and opportunities for optimized daylight. The architectural strategy is structured around two distinct courtyards: a southern entrance courtyard conceived as an urban threshold mediating between city and building, and a northern recessed courtyard generated through deliberate façade setbacks. Together, these spaces articulate a spatial gradient from public to semi-private. The southern courtyard functions as an active social interface, fostering interaction at the urban scale, while the northern courtyard plays a climatic and spatial role, providing natural light and ventilation for the ground-floor swimming pool and adjacent interior spaces.