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Sumit Singhal
Sumit Singhal
Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.

Valliahdi Office and Commercial Building in Karaj, Iran by Hooba Design Group

 
November 13th, 2015 by Sumit Singhal

Article source: Hooba Design Group 

At the heart of one of the busiest zones of Karaj, Valiahdi Commercial Complex is located in a vehicular-pedestrian boulevard. Taking into account the high volume of pedestrians in the area, it was important for the design team to create a multidimensional facade which respects the observer from various angles and creates an intimate connection between the building and the city.

Interior, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

  • Architects: Hooba Design Group
  • Project: Valliahdi Office and Commercial Building
  • Location: Karaj, Iran
  • Photography: Parham Taghi of, Deed Studio, Abbas Havashemi, Babak Toosipour, Pooyeh Nouryan
  • Design Team: Meisam Ehsanian- Mohsen Tahmasebi- Parima Jahangard
  • Architect in Charge: Hooman Balazadeh
  • 3D illustration: Mona Razavi
  • Presentation: Hooman Faali, Elham Seyfi azad, Amir Mohebi sefat, Atousa Shiran,  Pooyeh Nouryan
  • Structures: Mr. Alayi
  • Executive Director: Mohsen Tahmasebi
  • Resident supervisor: Danial Shamloo
Interior, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

  • Executive and advisor of façade glasses: Arisatec Company – Vahid Shahroozi
  • Client: Mr Valliahdi
  • Built Area: 5500m2
  • Site Area: 440m2Built
  • Area: 5500m2
  • Date Started: 2009
  • Date Finished: 2014
Interior, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

Inspired by the existing street network and urban context, a geometrical grid was created which was later modified to optimize the viewing angles. This geometry gradually transforms from negative to positive volumes at the top and bottom, creating two major voids at these sections. These voids then form the main entrance and the balconies on the top two floors.The new geometry was further developed to create a repetitive module defining both the exterior façade and the interior spaces. These modules also act as diaphragms, controlling south sunlight exposure.

Detail, Image Courtesy © Parham Taghioff

Detail, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

Multidimensionality on the façade also creates a dynamic visual connection between the building, the city, and the observer, so that the perception of the observer varies while moving toward or against the building. This perception is also affected by the sunlight variations, resulting in a dynamic light and shadow pattern on the façade during the day.

Exterior, Image Courtesy © Parham Taghioff

Exterior, Image Courtesy © Parham Taghioff

Exterior, Image Courtesy © Parham Taghioff

Exterior, Image Courtesy © Parham Taghioff

Inspired by Orosi from the traditional Persian architecture, stained glass was used to further develop the idea of the dynamic presence of light and shadow and to enhance the quality of the interior atmosphere. Moreover, this technique helped to control the heat generated by the excessive sun exposure on the south side by catching most of the generated heat. Vitray stains were used on the inner side of the two glazing layers making the system highly durable against external influences.

Interior, Image Courtesy © Parham Taghioff

Interior, Image Courtesy © Parham Taghioff

Exterior , Image Courtesy © Pooyeh Nouryan

Exterior , Image Courtesy © Pooyeh Nouryan

The two symbolic colours in the Traditional Persian Architecture are brick and turquoise. The ancient bazaar in Kashan is a great example where there is a gradual shift from brick in lower parts (representing earth) to turquoise up at the dome (representing sky). In this project the shift between the two colours was established based on the fluctuations on the façade. There is a more concentration of the brick colour at the concave sections whereas a more concentration of the turquoise colour at the convex sections.

Exterior, Image Courtesy © Pooyeh Nouryan

Exterior, Image Courtesy © Pooyeh Nouryan

Exterior , Image Courtesy © Pooyeh Nouryan

Exterior , Image Courtesy © Pooyeh Nouryan

In some parts of the interior surfaces transparent and semi-transparent glasses were used parallel to the façade glazing. This allows most of the mid-spaces to have natural lighting during daytime.

Exterior, Image Courtesy © Pooyeh Nouryan

Exterior, Image Courtesy © Pooyeh Nouryan

Interior, Image Courtesy © Pooyeh Nouryan

Interior, Image Courtesy © Pooyeh Nouryan

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Deed Studio

Exterior, Image Courtesy © Abbas Havashemi

Exterior, Image Courtesy © Abbas Havashemi

Exterior, Image Courtesy © Abbas Havashemi

Exterior, Image Courtesy © Abbas Havashemi

Interior, Image Courtesy © Babak Toosipour

Interior, Image Courtesy © Babak Toosipour

Interior, Image Courtesy © Babak Toosipour

Interior, Image Courtesy © Babak Toosipour

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

Image Courtesy © Hooba Design Group

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Categories: Building, Commercial Building, Offices, Residential

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