IRAN pavilion at venice biennal 2016: REFLECTION

Project idea

The mirrors on 3 side walls are the reasons for reflection of 3 half archs that associative Shabistan of ISFAHAN’S jame mosque of IRAN.
The process of formation this concept is as follows:
1.Choosing a centripetal form out of the different forms of Iranian architecture’s elements.
2. Connecting these two volumes by a spiral form and creating a new geometry through recognizing the volumes of traditional Iranian architecture.
3. Using a regular module in the basic form’s texture and expanding the module in the last and upper parts of the form in order to explain the concept of unity and sublimity.
4. Selecting transparent, flexible materials in order to form the intended geometry and decrease the rigidity of designed form and reflecting the concept of space transparency and continuity.
5. Employing the mirror element in the main three walls in order to make use of reflection in completing the arch geometry and forming the seraglio and expanding and continuing the space.
6. Increasing the space quality, with the help of the elements, inspired from Iranian architecture and attract more visitors and creating the intended public space and finally, improving the space quality, using the least materials.

Project description

The glory and beauty of Iranian architecture relies on its decoration and arrangements. Focusing on such decorations as mirror art, brickwork, tiling, and painting, Iranian art has been prevalent in Iranian architecture. Using the rules of reflection in mirror art, which has been the focus of this design, is one of the important issues in this field. Among the Iranian architecture’s characteristics taken into consideration by the Iranian architects, which have also been the focus of this design, we can refer to the following cases: Centrality: the central space regulates all the activities and the space center is the section in which the turning and exceptional ascending point occurs. In this regard, using the centripetal geometric volumes and shapes is practical. Relection: in Iran architecture’s spaces, the overall view, resulting from the formation of physical elements, creates a visual generality in the form of regular axis works, the components of which constitute a framework, in which the subject of shape and picture reach perfection. Thus, repeatedly using the mirror and volumes, while saving the space, is highly practical. Geometry: Iranian architecture’s geometry involves the discussion over science, the mathematical roots of numbers, and complex compounds, accompanied by intuition; considered expletory to the art works, these two represent the inseparability of art and science in Iran’s rich civilization. In this project, with a new perspective on the basic geometry of Iranian architecture, one can achieve an up to date style, while keeping the former originality. Transparency and continuity: the counterpoint of closed space is transparency and continuity; in such a space, the human’s path and look are in a transparent continuity, so that the space openings in the horizontal and vertical lines make the in between of the walls and shafts transparent, thus the last prospect and visage in an infinite horizon again take a new effect. The concept of continuity for explaining the original concept of Iranian architecture is considered a correct understanding. Continuity has nothing to do with the greatness and smallness of space; the above concepts appear in this proposed design. Intensity: Paving the ground from intensity to unity is among the characteristics of Iranian architecture. In architecture, creating intensity and taking it to unity, which is in communication with the humans, has been taken into consideration by the architects. The existence of intensity in architecture space and its role in communicating with humans would have a deep impact on the creation of space, perceived by humans. In this project, the optimum use of mirror stands for the concept of intensity

Technical information

in this project, the overall space has been designed, using Iranian architecture’s elements, including arch, mirror art, etc. The entrance has been defined with especial, pretty lighting, which despite simplicity and plainness, is an appropriate guide for the visitors. The turning point of this design is a spiral shaft, which has been intended in the final third of the booth and regarding its spiral movement, we can execute it, using materials with necessary flexibility, including CERP, AFRP , bars and Wire rope. Defining the mirrors in the booth’s main three walls compensates for the shortage of space through the pictures’ reflection and continuity; the minimum dimensions, intended for the module, are 1.83*1.70 and the maximum dimensions, 2.25*3.21. The play with lightness in the booth’s ceiling and floor plays a significant role in improving the space quality. In this design, for displayed and introduced artists and their works , Displays stands on the floor is considered.

Co-authors

Azita Esmaeelzadeh Asali, Sareh Javid, Reza Shojaee