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Designed By : Ehsan Mehrabi ( Lotus Arts )

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Location: Coming Soon
Client: -
Architects in charge: Mahdi Kamboozia
Project Leader: --
Team: Coming Soon

Coming Soon

 


Location: Coming Soon
Client: -
Architects in charge: Mahdi Kamboozia
Project Leader: --
Team: Coming Soon

Coming Soon

  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex
  • CAAT Studio Architecture - Media Complex

Media Complex

Media Complex
Location: Tehran, Iran
Client: Abbas-abad Lands Renovation Organization
Architects in charge: Mahdi Kamboozia, Helena Ghanbari
Project Leader: --
Team: Alireza Jafari, Alireza Esfandyari, Nasim Ghafari, Khatereh Lotfi, Semiramis Ghorbani, Negar Vahdati, Anahita Tabrizi

Media complex located in the main cultural zone of Tehran. Their goal is to show that the human itself, acts as a media in the project. During the day, the presence of humans can make the project alive by moving towards different parts of it such as amphitheatre on the roof and other spaces. More images and architects description after the break.

The Abbas-Abad hill is one of four beautiful hills placed in the Tehran foothills of Alborz Mountain. These lands are important for their special location. There, you can access three main area highways which are Hemmat, Modarres, Resalat and also Africa Boulevard. Also, a rich green area and surrounding parks have influenced this zone to be known as the lungs of Tehran. The Abo-Atash park is angled in the north-east side of the site. The land dimension is about 32,400 m, and it has north-south steep. Under the existing regulations 10 to 15 % of the land can be structured which is estimated about 4000 m.

The physical program displayed by the client added with our opinions and spatial suggestions leads to forming a new physical program with spaces such as: galleries (temporary and permanent video art), workshops (multimedia workshop, music studio, performance room, media department, photography studio and photo gallery, training workshop) office, restaurant, cafe, and mechanical room.

Today a media is not able to response to all the peoples needs. In marketing, there is more room for those products which includes a variety of media. In other words they inform more in comparison to a single media. Therefore, it happens to create a multimedia. One of its most important features is that although it is generally integrated, it is independent in components (multifunction). This appears as folding a flat strip according to the physical plan and position of different functions in the projects volume. These folds create the surfaces, facades, plans and finally the landscape. Folds are in line with those 4 mentioned main area directions around the project.

Their goal is to show that the human itself, acts as a media in the project. During the day, the presence of humans can make the project alive by moving towards different parts of it such as amphitheater on the roof and other spaces. Moving starts by getting a code from the entrance gate and getting in, like a data to the system and this would let the people use the facilities and visit all parts containing the restaurant, galleries and studios. Finally, this process would end by giving back the code and exiting the complex and we can see its reflection at night. During the night, the building acts as a reaction to the days happenings by projecting images of peoples activities in the day through advertisements and important events like concerts and news, on all of its 4 surfaces which can be seen from those 4 main axes of the surrounding area.

  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower
  • CAAT Studio Architecture - Tehran Tower

Tehran tower
Location: Tehran, Iran
Architect in charge: Mahdi Kamboozia
Project Leaders: --
Team members: Alireza Esfandiari, Nima Dehghani, Mohammad Ashkebar sefat

To combat the harsh reality of the extreme air pollution caused by urban sprawl in Tehran, CAAT Architecture Studio proposed building up, locating massive skyscrapers within the city to house masses of residents centrally. Demolishing unimportant old buildings will create space both for the two legs of the large tower, which is connected above ground to create a wide building expanse, and for green space that will make the urban expanse as a whole more livable. More images and architects description after the break.

Tehran, Iran's largest city and its capital, is plagued by extreme air pollution, 80% of which is caused by auto traffic. Amongst its 8.5 million residents, it is estimated that 27 people die daily from pollution-related diseases, showing the tangible and deadly dangers that result from the traffic caused by urban sprawl. By designing a tower with two legs that connect above ground, precious land is saved from development: the skyscraper occupies just 1,200 square meters of land versus the 30,000 square meters a typical tower would need for development. Each tower provides 1,200 housing units.

The overall shape for the tower is inspired by muqarnas, traditional Iranian vault and cable systems. Like concave vaults between two pillars, the residential units will hang en masse from the two sturdy legs of this structure. The legs are composed of trusses with parking cores at the bottom. (Cars park up the legs until the building convenes in the middle.) This helps keep them lightweight, and the structure as a whole flexible in the case of earthquakes.

On the top of the structure, a solid floor is laid atop the hanging cells to create a green rooftop expanse to be enjoyed by residents. The tall height of the garden and the prefab residential cells help protect them from the noise pollution of the city, and subtle structural design elements provide shading to units in the summer to protect them from the harsh sun.

  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial
  • CAAT Studio Architecture - Shams Tabrizi Memorial

Shams Tabrizi Memorial
Location: Koy, Iran
Architects in charge: Mahdi Kamboozia
Project Leader: --
Team members: Helena Ghanbari, Nooshin Radnia , Mohammad Ashkebar sefat, Yegane Ghezelloo, Shirin Keshmiri nejad

In the process of designing Shams Tabrizi memorial in Khoy, hierarchical approaches that shaped the main ideas of design can be categorized in five division:

Minaret centric role
Site location is proximately connected to urban fabric which in northern side is separated by one of the main boulevards of the city. The process of design started by the centric role of the historic minaret as the identifier element of the project in the context. Due to this impact, pathways and viewpoints are oriented toward the perspective that ends to this prominent object.

Accesses and pathways
By the centralization of the minaret, main pathways shaped based on the radial guidelines that join by the minaret, make the main access from the boulevard and the polar coordinate specify other entrances, pathways and view corridors from urban fabric. These guidelines, on visual and accessible bases will accommodate the variety of project requisite.

Separating addressees
Visitors of the complex is the main focus of organizing spaces, that due to the context of the city can be divided into two part. First part is the general visitors and residents of the city for its attractions as tourism or recreation destination, other part is specific visitors of the memorial as its cultural and historic aspects.

This duality cause to double approach in designing by different levels of spaces in the project. The upper level acts as a public landscape for group activities and general view to the project that give service to the general visitors, and lower level accommodates functions of the memorial complex that serves to specific visitors. Pathways in lower level is also act as mystic layer that doesn't represent the minaret to the visitor at first glance. By passing the way to the minaret gradually the space would be released. This mysterious approach is based on the gnostic characteristic of Shams Tabrizi.

Shell analysis
Unity in the project is acquired from the collective space that contains indoor and outdoor functions in relation to the neighbor urban fabric. Shaping the terrains in respect of the historic minaret accommodate open space theatre at the top and indoor functions beneath that, and extends urban space into the site to wrap the project by a continuous form. By the formation of the shell it rolls to make floors, walls and roofs that shaping the spaces.

Hierarchy and organization
Organization of the functions are based on the minaret and spaces ordering and evaluation to the project. In doing so, public functions are located in outer ring when the more specific functions are positioned adjacent to the central zone by the main axis to the minaret.

  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge
  • CAAT Studio Architecture - Prague Bridge

Residential bridge over the Vltava River (Honorable mentioned proposal)
Location: Prague, Czech republic
Architects in charge: Mahdi Kamboozia, Rasha Kiani
Project Leader: -
Team members: Ali Ghoroghi, Borna Ahmadi, Parisa Mirsadeghi, Siavash Jarayedi

The goal of the competition was to define a new residential typology on the outskirt of historic Prague zone that combines pathway to cross the river and residential units over the Vltava River. This opportunity encouraged the design team to propose a new extension to Prague urban space and making a lively and vibrant community that joins both side of the Vltava River by means of social activities in a dynamic space. Preparing the context for the people and interactions to take place, from small scales and personal activities to large scales and social events that bring neighborhood potentials to life and enabling wide ranges of experiences from tangible ones to some intangible and extraordinary involvement in the surroundings and consequently enhances the quality of life in the neighborhood community.

Rethinking on how residential formal typology as separated units and urban spaces can merge, cause to a combination of BRIDGE pathways and RESIDENTIAL spaces in a way that represents sequences of people life and social events, this organization of spaces links the river banks in a flexible way that maximize the quality of space by emerging interactions and possibilities of everyday life in the context of Prague. Searching on the way that residence experience can benefit from urban events and social activities led to a dynamic morph between different levels of privacy and public by the mean of access alternatives, view corridors and urban space extensions.

In the formal aspect of design, the bridge, redefined as an extension of urban SURFACE that merges the city from both sides of the Vltava river, instead of linear connection between two POINT, and created a double circular loop bridge that spatially twists and morphs between city/public and home/private.

By concerning historical context and height limitation of the site, instead of typically arrange residential units in vertical high-rise typology like a tower, it is bent over the river and units oriented in low-rise horizontal organization that facing to the central urban plaza.

  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque
  • CAAT Studio Architecture - Amir-al-momenin Mosque

Amir-al-momenin Mosque
Location: Tehran, Iran
Client: Mosque Board of Trustees
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Helena Ghanbari, Rasha Kiani, Hamidreza Salek, Mohammad Ashkbar sefat, Mahdi Hosseini

In questing the context of the project in Tehran, and focused on local architecture, unveiled one of the basic aspects of Iranian architecture as "hierarchy" quality of space organization. This way of layering spaces that makes sequences of conquering the space can be traced in different olden buildings especially in religious buildings where detaching from everyday life and approaching to worship space in accessing into the building.

In accordance to contemporary metropolitan urban block with a dense building blocks where the mosque located in, and the region that mosque works within, guided the design team to a new perspective that shaped the proposal in relevance to traditional and modern life style. Inside the limitation of site borders and neighbors, formation of the mosque in regard to the function requisites of this type of building like praying hall and lateral activities, separated access and spaces for men and women etc. beside the local architecture of north of Tehran, lead to merging elements of a mosque as minaret, porch, yard and dome in a way that recreated totally new spaces.

The integrated entity of the proposal plays its role as a religious and cultural center in the region scale and communicates with the environment such as variety of climate in each season, and different view angels and transparency depend on environmental and interior light.

  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station
  • CAAT Studio Architecture - Renew[oil] station

Renew[oil] station
Location: Sydney, Australia
Architects in charge: Mahdi Kamboozia
Project leader: -
Team members: Helena Ghanbari, Rasha Kiani, Nooshin Radnia, Mohammad Ashkbar sefat, Hamidreza Salek

During the late 18th and 19th centuries, large numbers of convicts were transported to the various Australian penal colonies by the British government. One of the primary reasons for the British settlement of Australia was the establishment of a penal colony to alleviate pressure on their overburdened correctional facilities. Most convicts in Western Australia spent very little time in prison.

Some were housed in the colony's convict prison, and misbehavior was punished by stints there. Although there was no convict assignment in Western Australia, there was a great demand for public infrastructure throughout the colony, so that many convicts were stationed in remote areas. Initially, most convicts were set to work creating infrastructure for the convict system, including the construction of the Convict Establishment itself.

The formation of prison cycle is based on three bases, Imprisonment, Sustainability and Rehabilitation. These three include all environmental, social and economic aspects of the project, which is shown on the diagram. The definition of each part relates to the main prison building, the bio-fuel production plant and the Replenishment Oilers and Cargo Ships.

A brief section to represent the vertical access and connection between the horizontal layers of the project that describes three basis formation process during imprisonment.

Organization of functions and describing the relations between them. Division of prison's horizontal platforms, forms a liberty of inmates from restricted area, high above all levels, to a low level restrictions in the bottom layers, positioning as a staff in the factory connected with the prison, or connections with the people outside the complex like sailors or the passengers of the ships, or replenishment oilers.

The race in modern world is on for a new form of fuel. Finding alternatives to petroleum-based fuel and fuel-related products is urgent. Combining the new architecture with sustainable energy, makes the use of bio-diesel fuel energy more compatible.

Algae fuel or Algal biofuel is an alternative to fossil fuel that uses algae as its source of natural deposits.

The enlightenment during the 18th Century in France and England, gave rise to new views on liberty, human nature and time. The birth of incarceration as punishment (rather than as detention or for security) was the concept that restricting a person's liberty would itself be significant retribution for crime, and that a measured amount of time served could be assigned in proportion to the severity of the crime.

This enlightenment concept was combined with a social attempt like "Reforming Movement" to redefine prison's role as that of "reforming" inmates into citizens, by providing education, work, and counseling. Architecture is a major component of making a "better" prisons, especially with attempts to provide more daylight and a less oppressive atmosphere, in operation to adequately meet basic needs of hygiene and safety. Also publication of the United Nations Standard Minimum Rules for the Treatment of Prisoners, helps us to recognize many basic human rights of prisoners and take them during the design. In this spirit, architects tries to make prison buildings less intimidating by providing spaces for rehabilitation, learning, socialization, and activity.

The reform cycle of the concept leads us to design a complex in which well-meaning attempts to reform is established fundamentally in the process of this reform. In short, the cycle of prison reform followed by inmate holding the main role in this cycle.

First loop (Persuasion vs. Punishment) describes the liberty of people which is followed by the behavior of him during imprisonment. Second loop illustrates the energy consumption while making it sustainable in the same cycle, which is parallel connected to the first Third loop represents people connected to the main cycle, who are from the a unit society. The variation comes from the responsibility due to their liberty and connection with the society, ranging from prison (symbol of imprison) to city (symbol of relief). As it's shown, layers are cycling individually, while their radial connection is meant to complete the three cycles working all together.

  • CAAT Studio Architecture - Kabul Tower
  • CAAT Studio Architecture - Kabul Tower
  • CAAT Studio Architecture - Kabul Tower
  • CAAT Studio Architecture - Kabul Tower

Kabul Tower (in design process)
Location: Kabul, Afghanistan
Client: Private section
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Rasha Kiani

  • CAAT Studio Architecture - Lawyers Union
  • CAAT Studio Architecture - Lawyers Union
  • CAAT Studio Architecture - Lawyers Union
  • CAAT Studio Architecture - Lawyers Union
  • CAAT Studio Architecture - Lawyers Union
  • CAAT Studio Architecture - Lawyers Union

Lawyers' Union
Location: Qazvin, Iran
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Rasha Kiani, Mohammad Ashkbar sefat, Hamidreza Salek

  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion

3rd Place Winner in I.R.IRAN Pavilion Expo 2015 Milan Architectural Competition
Location: Milan, Italy
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Rasha Kiani, Helena Ghanbari, Nooshin Atrvash, Mostafa Tajik, Hamidreza Salek, Mohammad Ashkbarsefat, Ehsan Karimi, Peyman nozari, Nooshin Radnia,

Beside thematic purposes of exhibition, the main goal of this exhibition is interactions with the objective of developing human relationships, global peace and hope for the future. Meanwhile, EXPO is an opportunity for every nation to present itself to the world as it is. A new image in order to define a new relationship with the world.

Design Ideas

Identity Of Iranian Architecture

Sustainability and climate variability in Iranian architecture

During the history humans have tried to make a secure shelter for residence, and adopt it to the environment in order to create conditions for their survival. Climate and atmospheric conditions, has direct intervention in the formation of that. In each region according to the environmental conditions and facilities available to residents, a unique form of domestic architecture takes place. Attention to the environment by using native material makes the lowest undesirable affect to the environment and makes the native architecture performance optimized and stable. The climate in Milan is a consequence of humid and warm areas of Iran. which guides us to use local and traditional solutions to control humidity and ventilation as we have used in our native systems which could be useful to reach the maximum efficiency with the low operating cost could be useful to reach the maximum efficiency with the low operating cost.

Spatial organization of the Iranian bazaar

Exhibition space in Milan Expo can be a multi-layered space with varied functions. The diversity in terms of gender, activities and contacts, can be compared to Iranian market. Iranian markets and related activities constitute the core of the city, the main route and its linear form. In total, bazaar consists of a main body or RASTEH (District of bazaar) and the buildings attached to it. These orders are sometimes direct and sometimes organic form, it is possible to find different branches, suddenly it reaches the CHARSOO )four sides) and TIMCHEH and Sara(hall) or from a small port we reach to a school house or CARVANSARAY which we find all of these spaces in terms of both scale and detail better and richer than bazaar. The combination of open and closed spaces creates an appropriate visual diversity in the market space. An environment which is necessary to enable people to interact with. Market architectural monuments linked with imperfect and incomplete it captures off an environment requires the active engagement of people. Architecture of Bazaar is an organic movement that crawls like a snake in the context of Iranian structure and creates the best correlation with a set of cities and the natural environment. Iranian bazaar is not a shopping center, it is an urban movement, part of people's daily lives and part of their social life. There are so many social movements arising from Iranian bazaar, not only in dealing with the surroundings, but the interior. Audiences has established a deep relation between the whole and its parts. This means assimilation and integration of components to the whole rather than the parts Like many architectural monuments in Iran in which form and function are one and inseparable.

Spatial and functional ideas

visiting scenario

Active open space to absorb people and being seen in different parts of the project.

Create free gathering spaces for maximum communication with contacts.

The competitive conditions given to the countries participating in the expo audience attraction also having strong ideas and scenarios are necessary for the competition. The visiting scenario is based on EXPO’s main idea (Feeding the planet-Energy for the life) stable equilibrium of the natural cycle and return to nature defines the idea for Islamic Republic of Iran Pavilion (food and culture).

Considering this and taking the approach of Milan Expo in comparison to Shanghai Expo which is based on human-centered event, the suggested scenario for the I.R. of Iran pavilion Expo 2015 is based on Iranian personality and culture instead of focusing on product placement.

Main purpose of the Visiting Scenario is based on nutrient process; Production, Processing and Consumption. An experimental visit for audience and visitors in the context of Iran and Iranian culture.

Introduce each of these three areas is the use of an Iranian character. Thus, the field produced by a farmer in Farmer Hall. Processing field by a craftsman working in the land the consumption process by a family member at the Family House with an emphasis on everyday life experience of each of these three characters. In a way that evokes the experience of tourist travel to Iran and make him familiar with Persian culture in everyday life.

The visiting scenario turns to Linear in form so the integration over the visit is essential to observe the sequence of topics presented. The linear procedure based on the feeding process, starts from the farmer then the labour and then the family. In each hall the story related to the character is described, in some points the description contains instances and similar gains for audiences.

Considering the spatial and functional ideas and scenarios defined, exhibition spaces, services and open spaces are identified. Considering these activities general functions and space requirements are determined. Space requirement can be achieved from the majority of users and contacts to space. According to Milan Expo special approach to landscape and open space, a significant share of functions is shaped in relation to general audience.

  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion

Location: Isfahan, Iran
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Majid Zamani (MAAN STUDIO/ Principal), Rasha Kiani, Helena Ghanbari, Shahrzad Khademi, Mohadese Younesi, Hamidreza Salek, Amir ali Amirakbari,Peyman Nozari, Sayeh Nikgohar.

The competition site covers an area about 75000 sqm and the aim of the project was to design a commercial center in one of the oldest streets in Isfahan, Iran. The foot print should be 500000 sqm including 50% parking and utilities, 25% commercial, 12% office and residential, 12% for recreational purposes.

This site at first was position of some royal gardens and had a recreational role in 16th century. The old street which the site located in (Chaharbagh st) has a cultural importance. This street was the connection between Naqshe Jahan Sq and Hezar Jarib gardens and used as a public space in that time in Isfahan.

Then one of the biggest spinning factories of the country was built there in 1950. This factory was established for charity purposes and all of the profits spends for improving the city conditions. Many fathers and grandfathers of the people living in Isfahan had been working in this factory so it was so much valuable for citizens.

Regarding Chaharbagh history and its effect on Isfahan urban planning, protecting these surrounding urban spaces is one of top priorities so emphasizing surrounding compact urban spaces became the main concept of the project. In the same time the project should have the attracting role of a successful commercial center too. As a result the boundaries of designed project is in connection and interaction with surrounding urban spaces and follows the structure of the city. The central zone of the project has the commercial and modern character.

Because of the great value of the old factory among the neighbors, as we moves to the project boundaries from the central zone of the project the complex becomes more similar to the surrounding urban spaces in scale, function and road networks. In the other hand as we moves to the central zone from the project boundaries, public spaces in ground floor and commercial spaces in higher levels spreads.

In order to to have a continues in spaces the commercial zone in vicinity of Chaharbagh st connects to Mirfendereski st that is a commercial urban space.

  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion

Location:
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Helena Ghanbari, Noushin Radnia, Peyman Nozari, , Ali Ghadyani, Ashkan Radnia, Noushin Atrvash, Mahdis Aliasgari ( local collaborator), Moein Kamboozia

Helsinki’s Soul Helsinki’s Soul evokes Helsinki’s strong connection between city and nature. It stands as a welcoming landmark and strengthens the waterfront’s character, while blending in with the city. In addition, this proposal explores the concept of a ‘museum of the future’ by defining ‘a museum of its place ’. It is about attracting visitors from the Nordic countries, as well as a wider international audience. Inspired by Contemporary Nordic Architecture, the volume is simple and iconic. It highlights the concepts of transparency and sharing, by breaking down the barriers between the museum building and public space, and by creating a showcase for Helsinki’s real soul: people. Two major notions have been considered during concept design, in order to interrelate the aims mentioned above.

1/ Identity; ‘City experience’ vs. Symbolic values (of the building)

2/ Museum for visitors (new, regular, local) *

Using the distinctive Helsinki experience, this proposal goes beyond the symbolic values of the museum building in order to re-define the relationship between the museum architecture, its content, and its audience. We believe that Guggenheim Helsinki must act as a dynamic permanent exhibition in the Finnish capital, where new visitors not only interact with international /local art and design, but also experience Helsinki’s everyday life, culture, fashion, etc. Also, Helsinki’s Soul celebrates the diversity of its audiences by generating different layers of experience and meaningful interconnection between new, regular and local visitors (passers-by). For new visitors, the museum provides places of discovery and serendipity, while for the local audience, it plays an even more important role; becoming a part of ’urban everyday life’ and of ‘city experience’. The museum offers two entrances; one that serves as a smooth transition between the city and sea for local and regular visitors; the other for new visitors arriving at the city’s port terminal. The entrance for the locals -a cylindrical hole in the middle of the volume -provides a panoramic view to the museum’s circular atrium and the sea. This urban plaza -or what we call ‘the Folk Gallery’-acts as an extension of public space to invite the city to flow into the museum’s heart. This creates a place to see and be seen. Making different activities accessible according to the changing seasons (e.g. ice–skating, outdoor theater), ‘The Folk Gallery’, sheds a light on the long, dark Nordic winters and on ways everyone can enjoy wintertime, for example. The volume creates a sympathetic skylight and accommodates flexible and multi-purpose spaces for visual, experimental and multi-media exhibitions, as well as permanent collections. Additionally, the urban surface is embedded within the interior of Helsinki’s Soul, forming an urban amphitheater with a spectacular vista of the city landscape. * New visitors: local/international tourists, first time visitors Regular visitors: people who participate in educational courses, researchers, artists, etc. Local visitors: passers-‐by, people enjoying the museum’s public space

  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion

Company: CAAT Studio
Website: www.caatstudio.com
Location: Kahrizak, Iran
Architect : Mahdi Kamboozia
Design Collaborator : Helena Ghanbari
Area ( foot print ) : 1660 sqm
Site area: 372.5 sqm
Year: 2015
Photographs: Parham Taghiof, Ashkan Radnia

Project Description

The project was located in Kahrizak, a district in the southwest of Tehran, the capital of Iran. It is a neglected area that features a semi-arid climate and has seen a rapid growth in size and population in recent years to such an extent that it has been being transformed from a squalid urban district into a town.

In the past, Kahrizak was a rural area whose lands were farmed to supply the residents of the capital with the fruit and vegetables they demanded, but due to its nearness to Tehran, its agricultural lands have been remarkably giving their place to urban blocks now. . These changes in city scape are visible through time.

The dwellers of this region are mostly migrant laborers of humble origins and on low incomes. Because of the abject poverty they live in, their main concern in life is that of quantity rather than quality. Therefore, there is even a large number of residential apartments in Kahrizak, whose bedrooms are dim and have no openings to let the sunlight in; nonetheless, they are so popular because of their affordability.

The project was offered to us at the time when two stories of it had been constructed and the executor was highly circumscribed in his budget. The land on which the building was constructed was square with 18 m2 sides and the building itself was surrounded by other constructions from three sides so the only dimension from which it could enjoy the sunlight was the southern side. It is worth a mention that two 55-m2 units were built on each floor of the building so the best solution possible at the time we accepted this project was to maintain the conditions of the units in the north wing and enhance the quality of the units in the south wing to build up an effective interaction between the northern units and the urban façade of the project. To do this there were a few difficulties.

The first obstacle to conducting this project was the tight budget, therefore we decided to employ local workers and use inexpensive regional materials such as brick and concrete.

The second hindrance was the mismatch between the residents’ culture and the type of buildings built in the region. For instance, the big balconies constructed in the apartments were walled in and roofed in to either add some space to the homes or be used as storerooms. There were also some balconies whose residents walled them in with colored glass bricks in order to prevent others from seeing the clothes they put out to dry and this in turn stifled the natural light and spoilt the look of the building.

Considering the residents’ use of and attitudes towards balconies then, Brick, firstly as inexpensive material and secondly as a modular and proportional material which has many advantages in order to create different alternatives. We used brick modules to build the balconies and satisfy the residents’ needs and because the units were so small, we placed the closets and cabinets inside these modules to make the most of the space. We also used tall windows to boost the natural light inside the apartments.

Architect statement:

When we were offered this project, there were factors such as the location of the project, the problems in the region, the poverty the residents lived in and the Client’s determination to improve the living conditions in Kahrizak that motivated us to find the best solutions possible to build accommodations appropriate to the region’s climate and residents’ culture so as to set an typology of design and construction in the area. Since there is a myth in our society that good architecture is the immediate result of good money supply so it belongs to the rich only, the main goal of this project was designing a construction enjoying quality and providing affordability. This goal could be achieved only through the effective interaction and cooperation between the architect, the Client and the collaborators.

There is a constant historical principle in Iranian architecture: the richness in details in coexistence with the representation of simplicity in overall scale which finally ends into merging with the context and matching to their functions. In Iranian traditional architecture users built their houses in a sustainable and climatic manner. This architectural considerations led into creation of a variety of typologies in different climatic zones of the country. We decided to be loyal to this principle in our project.

The choice of material was a significant parameter in this project mainly because we had to choose something affordable and easy to freight to the site. As a result, we considered clay blocks which were produced in a factory nearby and this meant a considerable decrease in the freight charge of the materials. The modules were constructed with bricks and we tried to find a suitable material for the module frames. The least expensive material that gave us the ability to create our desired sense of space was concrete. This way, we could reduce the cost of the project to its minimum. We used this reduction of cost to create the high quality interior spaces.

After designing the project we started to train regional workmen. To make sure that they are skilled enough to arrange final modules we ran some test modules before the final construction phase started. The client’s patience, understanding and his trust helped the process.

The close collaboration between architect and the client caused the progress of this project in a half forgotten district and at last it reached residents satisfaction. The units were sold-out during the construction phase with the same price of a finished building in the neighborhood while there was so many completed buildings left unsold. This way we achieved the client`s goal to gain profit of his project. That was what we all searching for; residents’ satisfaction, the clients’ benefit; A proper architecture from architect`s point of view and a good resume for constructors. Thus everyone who was somehow involved in the project was given what he/she tried to achieve.

Application of brick products:

As it may be seen in the project images we used clay blocks in the façade in a way that cover some parts of the terraces according to the reasons mentioned above.

Brick modules’ designs are based on Iranian geometrical patterns; each module was designed in relation with the function of the space behind it. Having variety in brick modules they are coherent and homophonic. That’s how it resulted in a smooth facade to represent both Iranian brick architecture and the essence of residential. In addition this geometry is concrete for local workmen and thus it facilitates the construction process. The geometry is also present in traditional residential architecture of desert areas of Iran.

شرکت طراحی : استودیو معماری کات
وب سایت : www.caatstudio.com
محل قرارگیری : کهریزک، ایران
معمار: مهدی کامبوزیا
همکار طراحی: هلنا قنبری
زیربنا : 1660 مترمربع
مساحت پروژه: 372.5 مترمربع
سال ساخت: 1394
عکاس : پرهام تقی اف، اشکان رادنیا

توصیف کلی پروژه

موقعیت پروژه در جنوب غرب شهر تهران (پایتخت ایران) بوده که این محدوده به علت رشد فزاینده ای که دارد به تازگی تبدیل به شهر شده است و آب و هوای منطقه مانند 70% ایران کویری (گرم وخشک) می باشد. زمین های این منطقه زراعی بوده اند و میوه و تره بار پایتخت را تأمین می کردند، اما به علت نزدیکی این شهر (کهریزک) به پایتخت، این زمین های زراعی با سرعت تبدیل به بلوک های شهری می شوند که می توان این تغییر را هر سال نسبت به سال قبل مشاهده کرد. افراد ساکن این منطقه مهاجرانی هستند که منبع درامد آنها کارگری در پایتخت می باشد و فرهنگ کاملاً بسته و متفاوتی دارند. به دلیل فقر مالی شدید مردم این بافت دغدغه اصلی آن ها کمیت می باشد و کیفیت اهمیت چندانی ندارد، به همین منظور در آپارتمان های موجود منطقه واحدهایی وجود دارند که اتاق خواب ها نورگیر ندارند و البته به علت ارزان بودن آن ها، چنین واحدهایی بیشتر مورد استقبال بوده و سریعتر به فروش می رسند. طراحی این پروژه در شرایطی به ما واگذار شد که کف دو طبقه ی آن اجرا شده بود و کارفرما از لحاظ اقتصادی محدودیت های زیادی داشته است. ساختمان مورد نظر در زمینی مربع که هر ضلع آن حدود 18 متر می باشد که از 3 طرف مسدود و تنها از ضلع جنوبی نور می گرفت و همچنین در هر طبقه 4 واحد 50 متری طراحی شده بود. در این شرایط بهترین راه حل فیکس نگهداشتن واحد های شمالی و بهبود بخشیدن واحد های جنوبی در راستای کارکرد مناسب ما بین واحد های شمالی ساختمان و جداره ی شهری پروژه می باشد. مسئله ی اول این پروژه کمبود زیاد بودجه برای اجرای ساختمان بود ، در نتیجه باید راه حلی انتخاب می کردیم که قابلیت اجرا توسط کارگران بومی را داشته باشد و از طرفی متریال نیز ارزان و قابل دسترس باشد. پس بهترین گزینه متریالی برای ما آجر و سیمان بود. مسئله ی دوم همخوانی نداشتن فرهنگ افراد ساکن با نوع ساخت و ساز منطقه بود ، به طوری که طراحی بالکن های بزرگ در پروژه های روتین مسکونی منطقه باعث استفاده نادرست مصرف کننده از آن ها می شد مثلا بالکن ها را به علت کمبود فضا دیوارکشی می کردند و به فضای داخلی تبدیل می کردند و یا به عنوان انباری استفاده می کردند و یا به علت اینکه از بالکن برای خشک کردن البسه استفاده می کردند و از طرفی نمی خواستند لباسهای آنها یا زنانشان را مردم رهگذر بینند بالکنها را با شیشه رنگی می پوشاندند که این کار نور کافی را وارد ساختمان نمی کرد و از طرفی منظره ی ساختمان را بسیار ناهنجار می کرد. در نتیجه ما کاربری مورد نظر مصرف کننده را از بالکن ها مورد مطالعه قرار دادیم و آنها را با مدول های آجری مشبک بستیم. بدین ترتیب با مدول های آجری که هر یک نیازی از خواسته های کاربران را تأمین می کرد پروژه را طراحی کردیم و از طرفی به علت کمبود فضای واحد ها کمدهای اتاق ها یا طاقچه های نشیمن را نیز در جداره داخلی مدول ها قرار دادیم و نور کافی را با پنجره های قدی وارد پروژه کردیم.

یادداشت معمار:

وقتی این پروژه به دفتر ما پیشنهاد شد، عواملی چون موقعیت مکانی پروژه و مشکلات منطقه و محرومیت ساکنان آن بافت و مصمم بودن کارفرما برای بهبود وضعیت سکونت ما را بر این داشت تا راه حلی مناسب جهت ایجاد مسکنی متناسب با اقلیم و فرهنگ مردم این منطقه با شرایط آسایش کافی پیدا کرده تا شاید بتوانیم الگویی برای نحوه طراحی و ساخت و ساز آن منطقه ایجاد کنیم. زیرا تفکر رایج در جامعه ما معماری خوب با هزینه بالا برای قشر مرفه می باشد. پس هدف اصلی این پروژه طراحی ساختمانی با کیفیت مناسب و ارزان قیمت بود و راه حل دست یابی به این هدف ارتباط تنگاتنگ و کارکرد درست مابین معمار، کارفرما، سازنده می باشد. ویژگی بناهای معماری ایرانی در طول تاریخ این است که در جزئیات پرکار و در کلیات آرام و همخوان با بافت و کارکرد می باشد، و افراد ساختمان های خود را کاملاً بومی و پایدار به دست خود می ساختند به همین دلیل در مناطق اقلیمی مختلف ایران ساختمان هایی با تیپولوژی های متفاوت دیده می شود. ما تصمیم گرفتیم که در طراحی و اجرای این پروژه بدین گونه عمل کنیم. انتخاب متریال برای این پروژه بسیار مهم بود چرا که علاوه بر ارزان قیمت بودن و حمل و انتقال آن نیز به کارگاه مهم بود به همین علت ما آجر سفالی سوراخدار را انتخاب کردیم که در کارخانه ای در نزدیکی ساختمان تهیه می شد و هزینه حمل را برای کارفرما بسیار کم می کرد، در نتیجه مدول ها با آجر اجرا شد، حال باید یک متریال برای قاب ها ایجاد شده در دور مدول ها انتخاب می کردیم که ارزان قیمت ترین متریال که حس فضایی مورد نظر ما را ارائه دهد سیمان بود و در این صورت هزینه ی اجرای نما را به حداقل ممکن رساندیم و از این کاستن هزینه نما، توانستیم در افزایش کیفیت فضای داخلی پروژه استفاده کنیم. بعد از طراحی ساختمان کارگرهای بومی منطقه را برای اجرای این مدول ها آموزش دادیم و قبل از اجرای نهایی، چیدمان مدول ها را در کارگاه انجام داده تا در هنگام کارنهایی کارگرها به اجرای آن کاملاً مسلط باشند. درک و صبر کارفرما و همکاری وی در سرانجام رسیدن این پروژه بسیار مهم بود. در نتیجه همکاری تنگاتنگ بین معمار، کارفرما، سازنده؛ باعث رضایت کاربران و پیشبرد صحیح پروژه در بافتی شد که کمتر مورد توجه قرار می گرفته و نتیجه ی آن برای کارفرما هم بسیار مثبت بود چرا که واحدهای این پروژه در هنگام ساخت با قیمت واحدهای تمام شده بقیه ساختمان ها به فروش رسید، در حالی که آن منطقه پر بود از ساختمان هایی که خریدار ندارد. و این نتیجه ای بود که همه به دنبال آن بودیم: رضایت مردم از خرید یک مسکن با کیفیت، و فروش خوب برای کارفرما، کارکرد درست مسکن از دید معمار و تبلیغی مناسب برای سازنده در نتیجه از اجرای این ساختمان همه ی افرادی که با آن درگیربوده و هستند سود بردند.

بهره گیری از آجر:

همان گونه در تصاویر می بینید ما در نمای این پروژه از آجر استفاده کردیم به گونه ای که یکسری مدول های آجری به دلایلی که قبلاً ذکر شده جلوی بالکن ها را پوشانده اند. طراحی مدولها با جزییات پرکار آجر بر پایه الگوی هندسی ایرانی است و هندسه ی هر مدول با دیگری بر اساس نوع کاربری آنها به ظاهر متفاوت است ولی الگوی مشترکی ما بین مدولهاست که منجر به آرام بودن پروژه می شود که تداعی کننده آجر کاری معماری سنتی ایرانی است و مسکونی بودن این مجموعه را نیز نشان می دهد. و همچنین این هندسه قابل درک توسط کارگران بومی است در نتیجه براحتی قابل اجراست و این امر در طراحی مجموعه های مسکونی سنتی ایرانی مناطق کویری به فراوان دیده می شود.

  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion
  • CAAT Studio Architecture - Expo Pavilion

Location: Darbandsar, Tehran
Architects in charge: Mahdi Kamboozia
Project leader: --
Team members: Helena Ghanbari, Peyman Nozari,