Architects: Dida Office
Area: 890 m²
Year: 2020
Photographs: Mohammad Hassan Ettefagh
Manufacturers: Barlinek Wooden Floors, Blum, Hafele, KWC, Keraben, Avijeh, Bosch, Diba, Nooranlighting, PMA, Sakhara, Schniz, Setarehshomal
Architect In Charge:Masoud Hatami
Architect:Habibeh Shabani, Milad Asadi
Drafting:Abdoreza Pourqasemi
3 D Modelling :Hamidreza Shabani
Supervisor:Ashkan Bakhshi
Construction:Imen Sazeh
Mep Consultant:Ali Abbaszadeh
Hvac Consultant:Ali Abbaszadeh
Structure Engineer:Reza Abbasi

攝影:Mohammad Hassan Ettefagh
負責建築師:Masoud Hatami
建築師:Habibeh Shabani,Milad Asadi
起草人:Abdoreza Pourqasemi
3D建模:Hamidreza Shabani
上司:Ashkan Bakhshi
建築:Imen Sazeh
教育部顧問:Ali Abbaszadeh
Hvac顧問:Ali Abbaszadeh
結構工程師:Reza Abbasi

Located in one of the 40-year-old urban gardens, this project was defined by the client as a villa with no distinct external appearance and facing, minimum resolution, unspecific form, and attracting the least attention possible. Conversely, the user opts for diverse interior spaces, which maximize the enjoyment of presence in the villa. We tried to challenge this duality—the interior diversity and the exterior simplicity—in the designing process and consider it the basis for the design concept.

該項目位於一個已有40年曆史的城市花園中,被客戶定義為一棟別墅,沒有明顯的外觀和朝向,最小的分辨率,不特定的形式,並且吸引了最少的關注。 相反,用戶選擇多樣化的內部空間,從而最大程度地享受別墅中的存在感。 我們試圖在設計過程中挑戰這種二重性,即內部多樣性和外部簡潔性,並將其視為設計概念的基礎。

Concerning this contrast, we based the elementary formation on confronting interior and exterior geometries—linear orthogonal as the surrounded form and curve shape empties inside. The form emersion initiated with a simple cube, developed by oriented hollow, with which concentration on the inside got more significant than outside.

關於這種對比,我們將基本構造基於面對的內部和外部幾何形狀-線性正交作為內部包圍形式和曲線形狀為空。 形狀的出現以一個簡單的立方體開始,該立方體由定向空心形成,內部的集中度比外部的集中度大。

Finally, the diversity of interior spaces shaped the basis of design development. The water stream, which irrigates gardens, situated on the north part of the site, provided the opportunity to expand it through the central space to form a water current inside the project. This central space has named Madi – a type of river.

最後,室內空間的多樣性塑造了設計開發的基礎。 位於場地北部的灌溉花園的水流提供了將其擴展到整個中央空間的機會,從而在項目內部形成水流。 這個中央空間已命名為Madi-一種河流。

The project’s cubic form has sliced into two halves, and a between space emerged in the center. The concentration of interior spaces, lighting, and other spatial characteristics are all toward Maadi. The spirit interior geometry orientation is toward Maadi, perpendicular to Maadi’s orientation, which is in harmony with the garden’s geometry. This geometric conflict—the contrast between pure cube and arches—turns the project’s architecture into an architecture of presence and intuition.

該項目的立方體形式已切成兩半,中間出現了一個中間空間。 內部空間,照明和其他空間特徵的集中都指向Maadi。 精神內部幾何形狀朝向Maadi,垂直於Maadi的方向,與花園的幾何形狀相協調。 這種幾何上的衝突(即純立方體和拱形之間的對比)使項目的架構變成了存在和直覺的架構。


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