Bagh-Darreh Villa

Location: Meygoon, Tehran Province, Iran

Architect: Ali Kermanian , Delaram Bolourchi

Client: Mohsen Amiri

Material: Brick

Design date: 2019

Site area: 3000m²

Built area: 600m²

Studio: Nian Architects

Principal Architects: Delaram Bolourchi, Ali Kermanian

Design Team: Reza Athari, Hossein Nazemzadeh, Parichehr Kaghazchi, Elmira Najafi

Story:

Text provided by the architects:

The main point about the “Bagh-Darreh” villa is not only the physical but also the perceptual and behavioural relationship between man, nature and architecture. Internal and external sustainable integrity, which is one of the highest qualities of the environment, would not be achieved without considering these physical and perceptual relationships.

“Perceptual relationship” is referred to people’s experience and sensual understandings through interaction with nature and architecture. This building tries to reflect nature’s way of interacting with people, such as apprehension, spatial perception and enjoyment. The human’s body reacts in a garden just as it would in a labyrinth, and the mind is continuously in suspense when spaces are lost and found. Our senses and emotions are perceived through chaos and spatial rearrangements. The building also tries to provide the same experience, sensual relationship and spatial understanding. The path is seen as an architectural object and the main event; at the entry, the building invites the person to a game by offering several ways and by making a choice, the person is involved in the spatial game. These various paths on different layers without any particular function aimed to be flexible and create a dialogue. By the same revelation, they try to create long-lasting pictures in mind and joyful memories giving a sense of belonging.

In this project, narrative architecture represents and reproduces a story of presence and interaction with the garden.

Regarding the physical relationship to complete the integrity of the project by considering the form, volume, scale, positioning, material, etc., priority was given to the way the building sits in the landscape. At first, as we enter the site, we are faced with a steep-sloped garden. Hence the decision of placing the building down on the slope was made, hiding it from the road and fitting it more within the topography of the site.

The volume divides itself into several pieces to adjust more to its landscape, creating a variety of new green surfaces on the rooftops at the same time. All the volumes sit alongside one another in a linear arrangement facing the main garden to the South. This assembly is continued inside, making the whole spatial organization of the building.

This effect is vividly perceived at the main entrance to the building, looking out onto the sloped garden down the staircase and through large glass windows. This visual connection emphasizes the relationship between the object and nature and gives a sense of invitation to the garden. The swimming pool on the right side also plays the same game through large windows and long continuous visual connections.

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