Location: Yazd, Iran
Architect: AA Design Studio
Client: Badrieh Dehghan
Material: concrete & brick
Design date: 2017
Site area: 324m2
Built area: 350m2
Architecture Firm: AA Design Studio IR
Author Architects : Amirabbas Aboutalebi, Mohammadhasan Forouzanfar
Social & Strategic Designer/Advisor: Mohammadreza Haeri
Energy Analysis: Badrieh Dehghan, Ehsan Fatemi
parallel to the cultural paradoxes of the society, which on one hand is fundamentalism, and on the other hand, strives for modernization and technology, architecture also sweeps in a frightful and shaking suspense. Meanwhile, internal production of the problem in the architectural layer and apart from its physical program is a way to work out the most appropriate solution for each project. In a small-scale project that has only a private user, the issue can also stimulate aesthetic indicators and constantly seek its place in its context. Additionally, in this project, the retrieval of the sign and signifier, which is knotted to the vernacular architecture in the dimension of time and diverges toward the practical memory of the land (culture, climate, and architecture) is also one of the objectives of the layout in the architecture layer. With this introduction, the project’s etude tries to challenge the paradox mentioned by the signs and gradually change the relationship between the home (privacy) and the city (public privacy) to the corresponding relationship accordingly, the design seeks to maintain.
Both the privacy of the person and the reverence of the community.
the desire to look, as well as the desire to overlook.
To be both quiet and hidden while being dynamic and obvious.
Look both filled and empty.
To be both absent is unwanted and timely present.
Both internal and external.
Both living and moving.
It's both naive and stunningly restless.
In the end, this convergence is a sign that makes sense and repeats itself to a scene to dance. Therefore, it is not the physical aspects which articulate the space but the sign that is allowed existence by the signifier and organizes the space.
Light is a sign and Parsin is a signifier.
In the Iranian gardens, an entrance building existed in addition to the mansion that was considered in fact a place for a reception. This space could take a variety of shapes from a major building to a gate or simply a door but in any case, a lattice wall named Parsin (paras) blocked the view from the entrance to the garden.
(Pirnia, 1358, Page 6)
In the garden,s without entrance buildings, Paras is a curtain obliged to block the view. Paras is a separating wall, risen inside the garden, confronting the doorway. Called Parsin or Parchin If gridded and occasionally covered with ivy. Prior to setting foot on the Garden, people are unaware of its dimensions and joys.
(Abolghasemi, 1378, Page 289)