Lavasan house-apartment has been built in a terrain with 520 m2 area, the gross floor area of 1447m2 and in 6 floors consisting of 4 residential floors and 2 public-use floors. The residential units have areas in a range of 260-270m2 and the public-use areas include a lobby, parking, and pool. The project is, in fact a domestic apartment owned by 4 sisters who each possess one of the residential floors.Their husbands are all, men of culture and thought; from studying philosophy to participating in art auctions; so a logical dialogue based on the cultural principle of Iranian architecture and through this ultimately reaching to a domestic home (a modern interpretation of Iranian architecture) was the main client`s request.

At the same time, we had a specific situation cause of the position of the project which was adjacent to the small cemetery of Tok Mazra'e (the cemetery which is the location of many well-known important persons including Abbas Kiarostami). The site had a trench wall with the height of 10m starting from the end of ground which forced us to have a backyard in order to provide more natural lights.So the project was affected by different forces and potentials coming from different directions that could be listed as below: 1- The designer for creating an atmosphere of Iranian architecture has had a major concern about the enclosed open spaces.

In indigenous architecture, the yard was the interaction point of dwellers` communications and their shared events. In this project, we aimed to connect these four domestic units through the use of terraces of different depths which open a variety of voided into each other (a synchronization of continuity and independency), the idea that would make different narrations of a traditional life, happening in a modern building. We have also some private terraces in addition to these domestic terraces.

2- In this project, the positioning of building within its environment is of major importance. Although the building is locating in a high region which has a great view to Lavasan, round about mountains and also a beautiful lake, the location of the cemetery of Tok Mazra'e in the west of the main terrain, forced us to not have any kind of openings in this aspect. According to this, we suggested a rotation in the general volume to not only have more aesthetic possibilities but also provide wide openings for the users through turning back from the cemetery, in addition, we could have a spectacular view with no facing to the cemetery.

3- One of the challenges we confronted, was a steep slope of 45%; nevertheless we could have created a good spatial separation, considering the structural design and its mixture with architecture. The main entrance was at the lowest point of the slope where includes parking area and storages. The user could reach the lobby by passing through the entrance stairs and an elevator, which is the main feature of the building and a sign of elevation penetrating into the building.

4- The Atmosphere of context was responded by the means of materials. The intensification of materialism experience enforced the sense of being real and tangible. The designer in regard to the location of the project proposed his idea in term of material selecting; the idea largely relied on climatic material consisting of rubble stone, brick, and wood through which the building shows his great respect to its surrounded environment. Here we should insist that the images provoked of materials would have more profound experiences than that of mere formalism. Materials could evoke more imaginations and sensations that are results of unconscious perceptions. Hence materials have a significant presence and interaction with the dwellers.

5- The idea of Iranian yard was manifested through the recall of pools, fountains and turquoise tiles in the main lobby. The lobby has different spatial elements that with an exception of fountain have different heights of a range of 3-10 meters. The lighting was provided from the ceiling which seems you are entering the yard of a traditional house in where each of family members is looking other`s presence from their own position, besides, the staircase let people who using it, have a vast view of Lavasan. In the lobby, with the use of fountain and turquoise tiles and also a wooden bridge over the fountain, we provide users the sense of Iranian houses` yards and entrances.

6- The project has effective discourses about the notions of space and place and did not merely aim the view of Lavasan through its positioning at a suitable height. The building involved the sensational feature of the user in itself. The environmental perception of its spaces transforming the captured retinal images to an embodied implication within a space in which we are not present and would develop our atmospheric sense. An all visual architecture has a controller and separator character, but an architecture based on tactile sensation is connecting and cohesive, and the tactile sensation could be provided through materiality, juxtaposition, recognition, and intimacy. The factors which reinforce the identity of being in a home.

7- Wall of the backyard is the closest wall to Abbas Kiarostami`s tomb. With pondering in Kiarostami`s photos we could see another narration of the wall in his artworks; the narration of nature`s inscription on it. A mixture of time, light, and color on the wall`s face. In his point of view, a wall is a curtain on which nature paints transient elevations. For us, the wall was a text that we could have inscribed it on nature as the context. So in this project, the wall was transformed into a green surface.

8- In the interior design in regard to aesthetic sense and the function of each of spaces, through the creative use of natural light we could have an environment deeming with light; moreover, the designer in addition to inviting nature in, has made the home an environment full of light and peace.

9- The designer through the rotation of the building and also the protrusile terraces aimed to create a significant building that there is no direct view from its neighbors to its private spaces such as yard and pool. The pool has been designed in a way that it`s users could have a vast view of the lake at the time of using it; it seems that there is no end for the pool and its continuity has been connected to the lake, a marvelous experience of the pool for the users.

PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Leili Bahman Bojari Shima Zahraei Hasan Abedi AWARDS Architect Award in Iran (Residential Apartments Category), 2017 Finalist, Building of the Year Award in Iran, 2017 Finalist, ArchDaily Award (Residential), 2021

PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Hasan Abedi Pouya Sanjari Farsipour Mohamad Farsi Alireza Bagheri Alireza Shadbakhsh AWARDS Special Jury Award, Architizer Award, 2023

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PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Hasan Abedi Shahb Farhadi Sabet Shahb Farhadi Sabet

The location for this project is part of an 86,000 square meter master-planned multi-purpose township, currently being designed by this consultant. The site stretches from the road connecting Lavasan to Fasham (Zardband area) up to the mountain ridge, (with a 120-meter elevation difference.) The fate of the land, since its purchase in 1934 (picture 1), has been shaped by the social changes, political, and geographical conditions of the times. The land, which was once cultivated into a hazelnut orchard and plane tree grove with great effort and dedication (picture 2). Faced a tumultuous fate with the approach of the revolution.

The location for this project is part of an 86,000 square meter master-planned multi-purpose township, currently being designed by this consultant. The site stretches from the road connecting Lavasan to Fasham (Zardband area) up to the mountain ridge, (with a 120-meter elevation difference.) The fate of the land, since its purchase in 1934 (picture 1), has been shaped by the social changes, political, and geographical conditions of the times.The land, which was once cultivated into a hazelnut orchard and plane tree grove with great effort and dedication (picture 2). Faced a tumultuous fate with the approach of the revolution.

Chapter One: An uneven plot with low connection to the main road, which includes two separation documents from 1986 and a villa building in the south of it. It also features a collection of old trees, the only remnants of the land’s past splendor.Chapter Two: In 1986, several old plane trees were cut down, and a villa was constructed as a gathering place for the family.Chapter three : In 1996 ,An addition of a swimming pool, volleyball court, vehicle access Chapter four : In 2006 ,tennis court represented a shift towards modern living, erasing the past Right in front of the grave!

Chapter five: In 2006 , The registry office insisted on demolishing the old pool to separate the land, and it seems that the only stable element in this site is the grave itself.Chapter six: In 2006 , Hadi roosataei order which was required to build in an area full of trees and advised to cut them down (which also suffered the fate of their murdered friends).Chapter seven: In 2007 , Dehyari order for the restaurant was designed by Representation Dehyari, repeating the tree-cutting tragedy. Chapter eight: In 2007 , The Road Administration’s Road construction that removed part of the land From the once-lush garden, only four trees remain, silently observing their fate. Chapter eight: In 2007 , ONLY SIX TREES LEFT.

Chapter five: In 2006 , The registry office insisted on demolishing the old pool to separate the land, and it seems that the only stable element in this site is the grave itself. Chapter six: In 2006 , Hadi roosataei order which was required to build in an area full of trees and advised to cut them down (which also suffered the fate of their murdered friends). Chapter seven: In 2007 , Dehyari order for the restaurant was designed by Representation Dehyari, repeating the tree-cutting tragedy. Chapter eight: In 2007 , The Road Administration’s Road construction that removed part of the land From the once-lush garden, only four trees remain, silently observing their fate. Chapter eight: In 2007 , ONLY SIX TREES LEFT.

The theoretical foundation of the design is based on this tragic past, symbolizing destruction and opposition to the environment, history, the observer, and an angry nature. What is produced contradicts architectural principles and is opposed to them This creation is a product of continuous destruction up to the present moment. The only faint connection of the site remains with the mausoleum, and the destruction persists with the removal of six plane trees (the last survivors of the massacre) due to architectural decisions! The structure, based on a transformed, identity-less past, remains silent and, along with new users, sings a hollow song but continues to focus on death. This is architectural irony.

PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Leili Bahman Bojari Leili Bahman Bojari Pouya Sanjari Farsipour Atefeh Lohrasbi Nazgol Mohamadzadeh Hamidreza Ahmadian Alireza Shadbakhsh AWARDS Finalist for the Memar Award 2024 Finalist for the Building of the Year Award 2024

The overall objective of every projectvisually is creating balance, unity, and harmony between space elements considering the function. This can be seen in the design of adib green tower spaces.The goal of this design having an artistic structure is to form a human-based environment for the sense of peace along with aesthetic expression. The basic principles of design in this project include details, interior and exterior elements, ornaments, landscape design and using water for perfect visual view and a relaxing space.

The initial concept of adib green tower is retrieved from traditional iranian architecture. This is done by meticulous and accurate selection of form and color in interior and exterior spaces. Moreover it is taken from traditional elements such as decorative muqarnas. So a fluid form is created that provides various and unique landscapes for the users.The facade becomes an inseparable part of the interior and its foundation. In other words it is the outer edge of an interlocking structure. On the other hand separate designed units of the facade are the external appearance of residential units and they can create legibility.

The living space is very dynamic. The main objective of the interior design in this project is creating a bright, comfortable and relaxing space that inspires the sense of iranian architecture authenticity while being modern. A feature of the scheme is adherence to unity and harmony along with variation in color and lighting.

A feature of the scheme is adherence to unity and harmony along with variation in color and lighting.In regard to the traditions, semi-open interior space recalls a modern expression of the traditional central courtyards that are the main organizers of the surrounding spaces.This would reflect the activity patterns of the past in addition to formic patterns. In this project, kind of silence is chosen against city constructions in response to considerations like being up to date. It tries to keep away from this chaos and make peace for the user with special consideration of formalism and architectural space.

Facade design creates unity by using a simple combination of cubic forms. Materials including wood, stone and turquoise tile create the sense of iranian house for residents; they can also make the facade dynamic, and various proportions and textures would lead to more coherence of the complex form. Rotations in plan and using organized openings and skylights cause a selective natural light penetration and improving the interior space.

PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Hasan Abedi Leili Bijari

This project is located in a garden in one of the developing construction areas in northeast of Tehran, the old neighborhood of Ozgol which used to be a village, and over time, rural houses have been replaced by luxurious houses and apartments. In the past, due to its location on the slopes of Tochal Mountain, the climate of this village was cold. Because of the uncontrolled construction, this region’s climate is joining the rest of Tehran in terms of pollution. This prompted us to pay close attention to the site’s nature.

The project owes much to the idealistic movement that seeks to return to the simplistic principles of residential architecture. Also the hustle and bustle of a metropolis like Tehran is enough for us to avoid the complexity in design, forcing the design into a site-adapted limited material palette. One of the most important motives of this site is that it has a garden, full of various beautiful trees. This led us to turn the view of all the bedrooms to this natural landscape. On the other hand, providing a wide view of the high mountains of Tehran for the living area.

The idea of the facade design is derived from the combination of curved lines and rectangular surfaces and using plaster wrapping around the building and changing as it goes higher. This vertical changes in the facade led to the formation of useful terraces in different situations.

PARTINER IN CHARGE Atizist Consulting Engineers PROJECT ARCHITECT Ehsan Maleki Yekta Afarin PROJEC TEAM Hasan Abedi Niloufar Tafazoli