ISLAMIC REVOLUTION AND HOLY DEFENSE MUSEUM 2016 - Competition

ALL  |  RENDERS  |   Next Facts + Figuress Location Tehran , Aftab city Date Of Design 2016 Area 114000 m2 Height 15 m Status Competition Description Architect Hassan Soltanpour Nick Name Amin Soltanpour Company Soltanpour Studio  معمار : امین سلطانپور (حسن سلطانپور) شرکت : سلطانپور استودیو این مطلب از سایت : https://www.soltanpourstudio.com گرفته شده است Design of islamic revolution and holy defense museum - Location: Sun city - Iran -  We are going to design one museum called Sun city located in the southern part of Tehran Capital of Iran ... - The Sun City has framed in the shape of circle in the center of Imam Khomeini cemetery (the leader of Iran revolution) and important national spaces such as Iranian International Exhibition and cemetery of Iran and Iraq war martyrs have been built beside this building.  1: Aftab Namayeshgah 2: Enghelab islamic and        Defa moghadas museum 3: Imam Khomeini 4: Beheshte -e-Zahra - City managers took into consideration to convert this city into cultural, pilgrimage, tourism and exhibition base. Consequently, the arrangement of their use was in the shape of beam located in the center of Imam Khomeini cemetery until they can establish more solidarity to different operations of the city ... But unlike city managers' programs, there is no solidarity of the suitable space in this city and the passing of Persian Gulf highway from the middle of this city has divided it into two separate part and the suitable walking access has not been predicted in this area as well.    One question! : Now we want to desig n one museum, the host of so many visitors. However, because of some accesses mainly take place in highways, how can museum have relation with citizens who rarely pass by this place? How is it possible to transfer isolated crowd of people who are not far from each other in distinctive spaces?   And as a result we increase the boom and prosperity of present  collections.   historical experience :   We had this experience in traditional markets of Iran....  Moving shafts operated as a connector of some important city places which people also provided  their own necessaries when they passed by these places .The difference is that achieved provisions are not commodity but it is a kind of cultural product and a sort of awareness.  Cultural sidewalk +  plaza =  Museum   We will make some changes in city structure and construct a cultural sidewalk , we connect these four main city spaces and we will build one city square in stead of museum.  Population : This is a good excuse for us to connect important urban spaces can be conection bridge for complex ,for this purpose we locate museum building in the path walk.   as a result audience of museum will be promoted to wide range of urban users and urban pedestrians have opportunity to visit part of the museum for free without getting into the museum.        New plaza :   Under whatever pretext other paths on the sidelines site is drawn into the site. an urban plaza added to the Sun city . in this region there is not  an acting urban plaza .         We simply divide the project in half until branching directions from city meet each other in this place.  Consequently, the building will provide the chance for presentation a part of its inside content for general viewers and the part of the people of society who did not intend to visit the museum, therefore, we have the role of informing the society about historical events... It has been drawn the broad volume light inside the operating spaces into the lowest surface with locating 15 central yards in the surface of building ( just like central yards in existing buildings in old cities of Iran),  and in this way a pleasurable environment was constructed with suitable  shadow in broad surface of building  and it will be converted into the park with planting trees and pleasant stopover for  pedestrians  passed by it.        The building is inside the city or the city is inside the building :   It will be possible to see Imam Khomeini and war martyrs cemetery in the north part of the building with stratifying the landscape in the middle of building and connecting it to the upside of the building. building.        The place of war museum has the close relationship with cemetery of war martyrs of its surrounding ... Finally, It was decided to depict the framework and landscape construction of Holy defense collections with the concept of martyrs tomb made special memory in the mind of citizens :                   Award Year Award Project 2016 ISLAMIC REVOLUTION AND HOLY DEFENSE MUSEUM | Fourth www.irhdm.ir

TABRIZ SUBWAY 2016 - Concept Design

ALL  |  RENDERS  |   Next Facts + Figuress Location Tabriz Date Of Design 2016 Area 12000 Height 10 M Status Concept Design Description In order to address this issue, first we have to bear in mind that one’s understanding of their surroundings depends largely on their historical memory of that given place. If that place is removed or changed,the memory will be impaired and a sense of alienation in the environment can be produced. Rather than rebuilding its components, we ought to recreate the thing as a whole in order to evoke and maintain the environmental integrity and Gestalt so that we would be able to restore the sense of place and shared collective memories. In so doing, parts of the key elements of the identity of the square need to be restored. To begin with, suppose we want to maintain to a maximum extent the physical structure of the destroy On the other hand, the statistics show that the growth of construction in Tabriz has been more than that of its population in recent years. This has resulted in the decline of green spaces in the city which was once known as the Garden City. Therefore, it is more preferable to replace as much as possible the destroyed building with a green space to compensate this lack of green spaces in the city. (Although maintaining the necessary elements to protect the environmental Gestalt of the square) As a result, the urban areas will penetrate into the walls and connect the edges of the square with the two central courtyards in the middle of the building . Also, the municipal building is being refurbished and is set to become the center of social and cultural events and will be usedasthe city hall. At the moment, this complex has a yard against the square. The present subway construction sitewill be empty in the future can be used as the second courtyard of the city hall facing the street and Sa’at Tower, being used as a place for shows and street performances. This new urban space can contribute to the future prosperity of the municipal city hall. Based on the above two assumptions,some wallswill be removed to accommodate the aforementioned needs and the rest of the walls will be remained intact. The maintenance of the past identity secures the psychological safety of the urban pedestrians. In order to address this issue, we need to build a second access or street in the site and through guiding the passengers (especially from entrance one) to this access at the edge of the site, we would be able to reduce some parts of the human congestion. Although not completely, this solution can partly divide the population density facing the street largely exiting from entrance onebetween the two access and therefore reduce the visual pollution of the square. The 11th stop of Tabriz subway will be one of the busiest stations in the future. Therefore, a large number of peoplegoing into or out of the station will enter the historic context of Sa’at Tower. As a result, this amount of visual pollution can undermine the historical identity of the square. 1 : Moving the density of the walls of the site will reduce the visual pollution 2 : After opening the subway , the visual pollution of the square will endanger the correct recognition of the identity of thre square 3 : The population density exists in the main strucure of the square - The walls of the structure can remind the citizens a sense of belonging to the place. The two central courtyards and the alley going through the building in the past formed a part of the shared collective memory of the city. The exhaust air ducts and the two entrances can be viewed as appendages on the site, the negative consequences of which has been reduced without any changes through lifting the ground surface lightly. In this way, it was possible to add two skylights to the surface of the ground and guide the light to the lower levels of the project without any manipulationsin the structure. The skylights are embedded among the existing beams and can guide the daylight to the dark corridors of the lower space. - In order to maintain the integrity of the walls within the square, the arrangement of the new structure is according to the rhythm lied in the destroyed building - The boundary between the site and the street has been reconsidered and through mixing with the urban area, it can act both as a public place for the square and a pedestrian area to reduce the population density of the street Tabriz Bazaar as one of the longest bazaars in the world in the vicinity of the subway site has provided such spatial experience for the local people. Hence, creating such a space can help solve the problem and encourage the passengers to pause for a moment and relax. The sky light formation >> Tabriz historical bazaar INTERIOR DESIGN AND ENTRANCE OF TABRIZ SUBWAY : Sa’at square has been recorded as a historical as well as cultural square in Tabriz. We will see by examining the history of the tower that its structure and integrity have been marred over time. For instance, Bagher Khan statue in the middle of the square was removed in one period and in another, Pahlavi relatively historic building,which had formed a part of the identity of the square,was eliminated.The sudden changesto such nostalgias have caused an identity crisis in the city and resulted in the inefficiency of its historical context . INTERIOR DESIGN OF TABRIZ SUBWAY The interior spaces of subways, usually due to lack of direct daylight, are too dull for passengers that they wish to escape as fast as possible to the ground surface. Hence, such places are commonly considered as transitional onesrather than places with abilities to relax passengers. However, through comparing the linear structure of such places with traditional bazaars, we can understand that despite the closed spaces of these stretches of bazaars, they have been places to pause, capture the spirit of the space, and relax mainly due to the entrance of daylight through the ceiling known as Hoorno. Architect Hassan Soltanpour Nick Name Amin Soltanpour Company Soltanpour Studio معمار : امین سلطانپور (حسن سلطانپور) شرکت : سلطانپور استودیو این مطلب از سایت : https://www.soltanpourstudio.com گرفته شده است    Award Year Award Project 2016 Tabriz subway competition | First place Tabriz urban railway organization

VENICE PAVILION 2016 - Concept Design

Facts + Figuress Location VENICE Date Of Design 2016 Area 15 m2 Status Concept Design Description Venice wall and Tehran wall Architect Hassan Soltanpour Nick Name Amin Soltanpour Company Soltanpour Studio معمار : امین سلطانپور (حسن سلطانپور) شرکت : سلطانپور استودیو این مطلب از سایت : https://www.soltanpourstudio.com گرفته شده است   Award Year Award Project 2016 Venice biennale 2016 | Nominated Venice pavilion

SHADOWS 2018 - Concept Design

Facts + Figuress Date Of Design 2017 Height 3 M Status Concept Design Description ... The Shadows (Hiroshima Atomic Bombardment Remembrance) In a world where its elements formulate in a general equilibrium. Light and shadows generally produce pleasant experiences for humans. In the science of physics, light, shadow and object as 3 variables lie in the same synchronous relationship, in such a way that at one particular time each of them is dependent on another, and these are the trilogues fixed in physics. The plot we are discussing is a wall that is composed of shadows that sometimes form a combination of these trilogy and sometimes deliberately shatter it and shadows such as graffiti art (wall painting) as Artifact will form.What is clear is that the natural shades will be the product of the same physical laws and seemingly realistic worlds of humanity, but more artifacts have been experienced in images created in paintings, graphics and cinema. Images whose presence of light and object as the two main elements of the appearance of the shadow are eliminated. These shadows, along with natural shadows, will try to disturb the rules in the mind of the audience.our view, this is a painting, a graphic effect. The creative mind of human beings . our view, this is a painting, a graphic effect. The creative mind of human beings !!! NEWS On August 6, 1945, an atomic bomb fired over Hiroshima, after the explosion of a bomb in Hiroshima and Nagasaki cities, was recorded in some areas due to the intensity of the blast and light shadow of bodies and humans on the levels, which was the only sign that They stayed.A few seconds after the light was shining and the shadows recorded, they reached the explosion and heat wave and turned it into ash and steam. This caused the shadow of the bodies to remain on urban elements for a long time.Such events may be a source of insight into the impact of human thought and its nature on the recording of a variety of unnatural events in the world. Rience the shadows when the light reaches infinity! There is not Salvador Dolly here to imagine, nor the photoshop that he picks, nor the camera that they record, but they are surreal roles in our realistic world, which have shaped the nature of mankind and the will of human beings. Architect Hassan Soltanpour Nick Name Amin Soltanpour Company Soltanpour Studio معمار : امین سلطانپور (حسن سلطانپور) شرکت : سلطانپور استودیو این مطلب از سایت : https://www.soltanpourstudio.com گرفته شده است

THE BOXES NUMBER 1 2017 - Competition

ALL  |  RENDERS  |  DIAGRAM  |   Next Facts + Figuress Location Tehran Date Of Design 2017 Area 200 Height 7 M Status Competition Description what do crows see ? When reading a context, we will definitely get certain concept from it but If we take a look at the words of the same text individually, we will understand the meaning apart from the meaning of the whole sentence. Buildings inside the city are like the arrangement of these words within the sentence. When in at the streets and alleys we look at the buildings one by one , is like a time we look at the words separately in a sentence and sometimes is impossible to understand whole concept of the sentence ( here means the city we live) and presumably we hardly feel connection between words . Look at above pictures , will see buildings(objects) are fixed in the city and indeed in all the pictures objects are the same objects in other pictures and just the position of the subjects have been changed. And the subject's perception of objects in picture (1) with perception of the same object in picture (3) is completely different , A man and a flying crow in the sky will understand the various mental images of the nature and relationship between objects. As a result, we will see that always changing the structure of objects does not change our understanding of that object, but only by changing the position of the subjects can the same difference in the formation of a different mental image. When dealing with the subject of interior design, humans are usually placed in the center of space and in a fixed position relative to the walls of the building, As in cities, people are among the alleys and streets between them, and they have less opportunity to understand the generalities of the city and the relations of the buildings in it as a whole like a crow We want to know if the opportunity created by changing the subject to the object in the above illustrations can be obtained in the interior design of the building as a small scale generalization?With the difference that once words within a sentence have been replaced by buildings within the city, and now the rooms will be replaced within a building. Design of the subject or the object : Certainly, for me, the experience of different spatial qualities, through the automaticization of the object to discover unknown frontiers, even if at the expense of being accused of the formalist approach, is always attractive and defensible, but the problem we are now looking for is precisely the picture of confronting it with its object With each approach . We want to change the relationship between the subject and the object and instead of exploring the object's content, in the opposite of the constituent space, we place the building in its simplest and most basic way to see if we can only experiment with the design of the positon of subject get a new one. In order for humans to have a different image of cities like crows, without boarding the airplane and climbing the mountains, they must fly like crows, or, like fantasy stories, reverse the earth and the sky, so that the city It will appear as a vision in front of the eye . In order to achieve a different understanding of the city, we can do this in an imaginary way and turn the city in, and now people can walk instead of narrow alleys and watch their walls, see the objects themselves, the street and the relationships between them. But in the interior design, we do not really do this so we can see how to create a level of recognition just by designing the subject with an initial layout of the home space (even in its simplest form)! How to change the position of man (subject) and put it in a new layer to a different mental image like a crow! IN THE CITY AND IN THE HOME : With a simple displacement, spaces like the scene of the show will be placed in front of the eyes of the viewer, and each space will be independent of each other, so the relationships between spaces and universality of space would be understandable and concrete to the prese Subjects can directly understand the relationships and structure between the components : As the crows can find the relationship between buildings and elements within the city, in here, the subjects will easily understand the relationships between rooms and spaces within the building and the accesses and relationships between them too. The equipment and applications of each space are located in a central core within each space, and the outer walls of each space are free and the ability to communicate between spaces exists. Architect Hassan Soltanpour Nick Name Amin Soltanpour Company Soltanpour Studio معمار : امین سلطانپور (حسن سلطانپور) شرکت : سلطانپور استودیو این مطلب از سایت : https://www.soltanpourstudio.com گرفته شده است Award Year Award Project 2017 Dolce vita competition | Third Dolce vita company