Shortlisted & Nominated in 2A Asia Architecture Awards for Old & New category, Vienna, 2016
Selected and Exhibited in 56th Venice Art Biennale, in Iran Pavilion, Italy, 2015
Finalist in Me’mar Grand Awards, Tehran, 2013
- 2016, 2AAA 2016 Interactive Exhibition, Incorporated Minarets, Vienna /Austria.
- 2016, Iraninan Art & Architecture Festival, Incorporated Minarets, Yerevan/Armenia.
- 2015, IRAN – JAPAN: CONTEMPORARY ARCHITECTURE, Incorporated Minarets, Tehran/Iran.
Name: Incorporated Minarets of Payambar Mosque
Architect: Arash G Tehrani
Firm: Naghsh Urang Pars Consulting Engineers.
Location: Payam Blv. Tehran, Iran.
Client: Tehran Municipality, region 2.
Project Manager: Faranak Safavi sohi
Contractor: Ervin Sazeh Barzin Co.
Civil Eng: Saeed Khademi
Electrical Mechanic Eng: Akbar Abedi
Arch Visualizer: Milad Kambari
The project is about a pair of Attribute-oriented Minarets, which were incorporated into an existing Mosque. The design tries to use “attributes, and functions” instead of copying facial classic ornaments and forms, to reach the contextuallity. So, the attributes and functions created a pair of minarets which they answer to every need that a classic minaret seeks, but they have no traditional visual elements.
It’s an Attribute-oriented approach to an architectural design, for what is considered as Tradition and called Traditional. The design process used the meaning, feel and functions of a traditional minaret, injected them into an Attribute-oriented form, to create something suitable with its Time, people and context.
In Iran, where the project locates, so many people, both in society and related administrations, feel too much devoted to tradition and try to repeat traditional, historical religious forms and copy them for new buildings. But with respect to this believe, the designer believe that only meanings, attributes, concepts, and the feel they make should be saved; therefore we need new mold for our century. The function of this kind of buildings are also needed, but it’s not eligible to copy the forms and ornaments which were born to their own aesthetic, cultural, and technological needs of that historical period of time. So the project presents a full function Minaret, which answers all needs of a minaret into a modern day design.
Process of form:
Religion is the light of awareness, Mosque is the house of light, and Minaret is the place of light. The moment that light splashes from the edges of a box or a door with a Light source inside of it; and unfolding a white flower like a veil, could describe the concepts and formation of Minarets (Diagram SH-03). The Minarets have a Metal Cover acting like a Veil, supporting the Mosque building material (Context/Object), which is in contrast with the bright, soft core (the Subject). There are several concepts and attributes, which could be reminded by each of 4 faces of minaret (Diagram SH-04).
A Minaret before Islam was a high structure with a light of fire on its top, to guide caravans and travelers toward the city. After Islam was expanded over Persia, it was built next to mosques, so the Muezzin could inform people for pray time. After decades it also was known as a symbol of mosques and Holly places. Mannar (Minaret) in Arabic and Persian language means “place of light”.
Islam is the Religion of light versus darkness. Alongside Islamic believes; the concept of Darkness and Light, and the war between them where always one of the main themes of ancient Persian mythical tails and stories.
The building of minarets is designed to be able to be installed on the building in 3 quick levels. 1- Installing pre-made Structure, 2- installing the pre-made stairway, 3- Installing the faces of minarets.
The Minarets were constructed with full prefabricated materials and no masonry material was used in the project.