Designer: Alireza Taghaboni
Design associates: Rouholah Rasouli, Farideh AghaMohammadi
Detailing design associates: Hamid Mohammadi, Amir Taleshi
Senior consultant in detail design: Shahnaz Goharbakhsh
Supervision: Shahnaz Goharbakhsh, Alireza Taghaboni
Project associates: Mojtaba Moradi, Negar Rahnamazadeh, Asal Karami, Majid Jahangiri, Masoud Saghi, Hossein Naghavi, Fatemeh Tabatabaeian, Iman Jalilvand
Construction: Imen Sazeh Fadak Consulting Eng
Landscape consultant: Babak Sadri, Omid Abbass Fardi
Structural design:S. Fallahi
Mechanical consultant: Hoofar Esmaeili
Electrical consultant: Mohammad Torkamani
Revolving rooms system: Bumat Company
Photographer: Parham Taghioff, Mandana Mansoori, Salar Motahari, Majid Jahangiri
Client: Mojgan Zare Nayeri, Farshad Sharifi Nikabadi
Location: Iran,Tehran, Darrous
Like many other cities across the globe “which have been deceived by the modern”, the city of Tehran has a layer of 5-6 story buildings which embrace the city like a thin film.
The difference between Tehran and most other cities is that the production and auction of these buildings is more profitable in Tehran and a considerably powerful branch of economy in IRAN’s oil-oriented market is dedicated to them. Here is how it functions: individuals put their and their acquaintances’ small capitals together, or in larger scales they attract the capitals of private and state institutions and organizations, in order to build in their own or other people’s lands and then they make considerable profits by selling the finished property.
Municipalities of different districts of the city of Tehran (and other cities in IRAN) earn money from the taxes on these properties, and they somehow encourage this way of building and selling in order to solve the city’s daily problems and of course to make even more money. The outcome of this cycle is, that infill buildings – which occupy the maximum buildable area – are now galore in Tehran and due to the tense competition in the market, their facades are decorated with fake ornaments. Hence, the city looks like a jungle of popular and kitsch architecture.
The war front in such a context is to penetrate and alter these “capital cubes”. It is to intervene in this cliché physiognomy in a way that spatial concepts and lifestyles can be transformed.
The Sharifi's project tries to challenge this typology and make an attack on the cliché mentality of the market through creating a variable and flexible space, while generating attractions free of banality.
The experience of this project is creating a space which is in dialog with the city, a space which changes and impacts change on the boundary between private and public spaces. It is an alternative way of being present in the housing market which challenges spaces inspired by “the mainstream”. In this experience, the space is not a passive element, a “commodity” for sale, but rather it is an active element which affects the lives of people, in both its interior and exterior realms.