این پروژه بصورت اختصاصی در پایگاه خبری فضای نو : رسانه تخصصی طراحی داخلی منتشر می‌گردد

شناسنامه پروژه

مشاور طراحی :  طرح و ساخت راه ابریشم

طراحی و معمار : نوید گنجی

کارفرما : علی پورفراهانی

محل : لواسانات . شمیران

مبانی نظری پروژه

طراحی پروژه تجاری مولتی برند لواسان واقع در شمیرانات زمانی به شرکت طرح و ساخت راه ابریشم محول شد که ساختمان دارای اسکلت بتنی ساخته شده بوده و در عین ساخت سازه ، گودالی به عرض 2 متر در سیستم ورودی این ساختمان گودبرداری و تحکیم شده بود تا دسترسی ای جدا برای طبقه زیرزمین تعبیه گردد . لذا این شرکت با توجه به ماهیت ساختمان و البته محدودیت موجود در طراحی ( عناصر ساخته شده ) ، ضمن طراحی پلان منعطف نسبت به مسایل و استراتژی های لازم جهت ساختمان های تجاری ، پوسته ای در سه بخش برای آن طراحی نمود ، بخش نخست ایجاد سیستم دعوت کننده ورودی اصلی که با ارتفاع از سطح زمین تعبیه شد و به عنوان پاسخگوی استراتژی ایجاد ایکون در نظر گرفته شد . در بخش دوم ورودی زیرزمین بود که به عنوان واحدی جدا در نظر گرفته شد و از کوچه فرعی سایت تامین شد و در بخش سوم جداره نیمه متخلخلی که ضمن تامین ویترین مغازه ها حس کنجکاوی را در مخاطب تداعی نماید .

لینک : https://fazayeno.ir/2023/02/05/%d9%85%d9%88%d9%84%d8%aa%db%8c-%d8%a8%d8%b1%d9%86%d8%af-%d9%84%d9%88%d8%a7%d8%b3%d8%a7%d9%86-%d8%a7%d8%b2-%d9%86%d9%88%db%8c%d8%af-%da%af%d9%86%d8%ac%db%8c/

همزمان با آغاز سال 1401 و نوروز ایرانیان، بنیان خاندان گنجی (به عنوان یکی از خاندان های اصیل ایران) با نشانی جدید برگرفته از میراث امپراتوری ساسانی به صورت غیررسمی راه اندازی می شود ودر شش ماه آینده خبر های مهمی از اهم فعالیت های آن خواهید شنید .
این بنیاد با هدف توسعه و ترویج فرهنگ کارآفرینی، فقرزدایی در سرزمین ایران زمین، ترویج فرهنگ میهن پرستی و افزایش پایداری اجتماعی همسو با فرهنگ ایرانی تأسیس شده است.
بعد از این شش ماه این بنیاد به صورت رسمی برنامه های خود را اعلام و شروع به فعالیت میکند.

ps : خانواده گنجی اصالتاً تهرانی هستند که معمولاً در سه عرصه ساختن ، تجارت و مالکیت زمین فعالیت داشتند؛ بزرگ خاندان گنجی ، نورمحمد نقی گنجی بوده است که مالکیت بخشی از محله میدان خراسان تهران را بر عهده داشته و در آن منطقه میزیسته اند.

نوید گنجی

Simultaneously with the beginning of 1401 and Iranian Nowruz, the foundation of the Ganji family (as one of the original families of Iran) will be unofficially launched with a new New visual identity derived from the heritage of the Sassanid Empire, and in the next six months you will receive important news about its most important activities. heard .
This foundation has been established with the aim of developing and promoting the culture of entrepreneurship, poverty alleviation in the land of Iran, promoting the culture of patriotism and increasing social stability in line with Iranian culture.
After these six months, the foundation will officially announce its plans and start operating.

ps: The Ganji family is originally from Tehran, who usually worked in three areas: construction, trade and land ownership; The eldest of the Ganji family was Nour Mohammad Naghi Ganji, who owned a part of the Khorasan Square neighborhood in Tehran and lived in that area.

Navid Ganji

دومین همایش جایزه دادمان در محل سالن اجلاس سران با حضور مسئولین ارشد و متخصصین حوزه راه و شهرسازی کشور برگزار شد.

به مناسبت هشتمین سالروز موسسه مطالعات راهبردی معماری و طرح معماری نويد گنجي ؛ معمار ، کارآفرين و مدير عامل اين موسسه چند کلامي درباره 8 سال گذشته صحبت ميکند .

دستاورد ها و نتایج فعالیت های ما به صورت موردی در‌وبسایت و رسانه های ما موجود هست و بیان موردی انها بسیار زمانبر خوشبختانه، از همه افرادی که در این سالها از ما فروتنانه حمایت کردند
www.goodarchitecture.org

لينک ويدئو :     https://aparat.com/v/miMcK

The Question “what and how is a good Architecture?” has always been challenged during centuries. It has been one of the main questions of all architectural and urban communities with their variable intellectual scales and different public opinions all over the world. Besides, the answer has widely affected the society in every historical era depending on their organization systems and general policies. “Today, Iranian society is confronting a disorganized architectural condition”, asserted by majority of Iranian experts and scholars. However a significant number of Iranian professional architects and urban planners are seriously trying to have a good impact on their national urban and architectural image, the lack of public awareness about the essence of a ‘good architecture’ has become a fundamental barrier hindering architects and planners from reaching this purpose. Institute for strategic studies in Iranian Architecture, as an independent research center, aiming its objectives to enhance informing people and doing researches to promote public knowledge and thoughts in the field of architecture, has decided to set a long-term Research-based Cultural programme, known as “The good Architecture”. The institute is trying to rebuild the urban culture and create a public awareness about architecture according to ‘good architecture’ program within the context of Iranian national architecture through research, drawing people’s attention to the subject, and the process of culturalisation. The good architecture programme as a widespread project having programmed in several levels accompanied by a variety of activities, and focusing on general public (with the leading role of architects and urbanists), tries to increase public awareness about the meaning, quality, and essence of ‘good architecture’. The institute aims to collaborate with both individuals and legal entities so as to make the architectural and urban environment a noticeable issue of people’s very day life.

What is “Good Architecture”?

Good architecture in general has no meaning. It is always related to your ideas, criteria, life values, your social ideology, your aims and goals. It has to do with your beliefs, also whether you follow right or left political wings. It has to do with your sense of humanities, if you care for poverty, hunger and disease. Or if you are detached from the deprived (society) and that your only aspiration is to gain fame, success and money. It has also to do with the notion of having mastered your ego, or if your inner wishes is to make everything everyday bigger, wider, more notorious.

we all want to do social architecture, human architecture, to reach sustainability, to care for poor people, to provide enough life insurance, to do non polluting constructions, to use appropriated materials, to provide aesthetics through spheres of the real perceptive environment, and so on…

What a good architecture must comprehend:

1-The sense of Beauty.

Architecture is an art. Therefore it must project a great expression of an accomplished art where proportions, measures, colors are well balanced.Aesthetics must be omnipresent in every angle and view.It is through beauty that people could discover properly spirituality.

2-The sense of order

Everything must be in position to provide a sense of order in volumes and spaces. This does not mean symmetry- On the contrary the order of breaking symmetry for achieving a dynamic diverse order in places and spaces.Order is the inner structure of the mind. It is the way of reasoning the everyday facts of life. It is the road of wisdom to acquire intelligence and wisdom. It is the way of placing each element in the right place at the right time.

3-Geometry

This is the tool of architecture. In geometry one can find the dialogue of things

in relation with each order. Every point of a geometrical setup has a projected resonance somewhere in space. Geometric points, when correctly placed create a sense of place belonging, which can be unique. You play with geometry like the musician with notes or the painter with colors. It is the tool, which gives you light when you are lost in the obscure zones of your projection. It is the tool which gives you the power to travel beyond the measurable (dimensions, shapes) and go through the immeasurable, our perceptive apprehension.

4-Light

Must be in dialogue with volumes and spaces. Must emphasize the essentials,Light is a basic tool for emphasizing the importance of special places.

5-Drama

It must create a sense where a human being starts to feel the spirituality of heaven, the meaning of life, birth and death. It is the time you discover the true essence of life by the way of configuration of places and spaces. Architecture must move you, must make you cry and has the role of correcting your distorted views by offering exquisite perspectives of heavenly beauty.

6-Innovation

Each artwork must add something to human civilization, something new that can help others to dig more through this passage of higher meanings. It is through that window that, an entity must be progressive in its resources, construction and aesthetics.

6-Humanity / Culture

Every artwork must help the society to elevate itself in the higher spheres of civilization. It must have a living dialogue with people and receptivity among them, not for resuming tradition but by the way of transfer of culture to new expressions of creativity. Austerity and modesty must remain the keywords.

(That is why deconstruction and other kinds of new western exuberance cannot fulfill a proper reception in eastern cultures and civilization).

Yusuf and Zulaikha (Yusuf pursued by Potiphar’s wife), miniature by Behzād, 1488.

From the 14th to the 16th century, Iran had witnessed growth and affluence under the Timurid and Safavid dynasties. During this period, many mosques, palaces and pavilions were commissioned and contributed to sites of veneration and pilgrimage. However not many of these key architectural realms survived and few historical texts exist to relay the intricacies of the architecture of that time.
What remained were some dispersed manuscripts from the Shahnameh and other renowned illustrated stories or poems that represented the moral values and aesthetics of that period. Inadvertently these initial renders became the main representation of a unique and fantastic Islamic architecture.

“Yūsuf va Zulaykhā”, by the Sufi poet Jāmī. 1580, Iran. Image via The British Library

Contrary to accurate spatial depiction of the renaissance art, which was taking over the West, Timurid and Safavid artists opted for a stylized reflection of reality. Despite their familiarity with realistic visual representation, achieved through linear perspective and depth techniques, they chose to keep the illustrations two dimensional. Instead, the focus was on key Islamic art elements and materiality, giving way to human imagination to play a role in the development of the spatial understanding.

“Bahram Gur in the red pavilion” by Nizami, 16th Century Iran – H: 12 13/16 x W: 7 7/8 in. (32.5 x 20 cm). Image via The Walters Art Museum

In these small ink illustrations, there was an effort to describe the built structures, while omitting any explicit spatial logic. There is a sense of how things might be rather than how they are. The result is similar to a flat collage representing opulent palaces and mosques. The four guiding components of Islamic art are implemented, including Calligraphy, Vegetative forms, Geometric elements and Figures; adding dynamism and suggesting a function within the space. Various tiling patterns would then refer to different surfaces and hint to a possible layout of the building or interior.

Nightmare of Zahhak (painting, recto; calligraphy, verso), folio from a manuscript of the Shahnama of Firdawsi, 16th Century – folio: 26.9 x 17.4 cm (10 9/16 x 6 7/8 in.). Image Courtesy of Harvard Art Museums/Arthur M. Sackler Museum, Friends of the Fogg Art Museum Fund

These manuscripts were often not larger than an A5 frame, still they contained striking design elements that might have actually been present in the real building, such as the colorful glazed mud bricks. The render is flat but alludes to the depth of the space it is depicting through the different patterns and linear rhythms. There is an intensity that comes out of it which engages the viewer, looking on to the scene from above. This creates a sort of odd space that is only formed through the suggestive imagination.

Courtesy of the trustees of the British Library. ImageIn the “Building of Al Khawarnak- Khausa” by Nizami, there is a concise representation of bricks with the tiling drawn in different orientations, evoking the entire architectural and construction process. The composition and color balance of the piece reflect the movement in building activity.

This artistic culture might also have influenced today’s unique Iranian renderings, which regardless of the designer’s capacity to have everything be realistic, manifests an attention to leave inexactitudes for minds to dwell on.

Courtesy of Noor Art & Architecture Studio

Source : archdaily.com

روز شنبه همزمان با روز معمار 1400 ، جلسه افتتاح مهمترین جایزه و جشنواره معماری کشور بود که توسط شورای عالی انقلاب فرهنگی و به همت دکتر امیر محمد خانی شکل گرفت… این جشنواره به زودی فراخوانش منتشر میشه ولی مهمتر از همه شاید باید این نوید داده بشه که نظام معماری توسط همین شورا ( که مهمترین نهاد تصمیم ساز در عرصه های فرهنگی کشور هست ) به تصویب رسیده و به زودی و فارغ از لابی گری ها و مسائلی که هممون میدونم شکل میگیره.. همینطور این جشنواره ابعادی ( چه به جهت رسانه ای و چه به جهت اعتبارات ملی ) در ابعاد جشنواره فجر داره که به نظرم در صورت پیشرفت صحیح و مطابق برنامه ، مهمترین اتفاق معماری کشور خواهد شد…
بنده هم یکی از اعضای شورای سیاستگذاری و علمی این جشنواره و جایزه هستم…
پینوشت : اشخاص دیگری هم ( معماران ، نمایندگان سازمان های ذی ربط و … ) عضو این شورا هستند که در تصویر نمیبینید… همینطور در جلسه مذکور رسانه های مهم کشور نیز حضور داشتند…