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  • About the Project

    Ferdowsi, born in an age of wisdom and the guardian of the Persian language...

    In designing this project, the aim was to position the visit to Ferdowsi's heritage not as a secondary space, but as a plaza and urban square located at the center of the project. Given the project's location on a site connected with urban space, the main circulation of the entranceways to the cultural complex was arranged so that users could access the central hall of this cultural space through the axes of the surrounding streets.

    This approach created a movement axis and engaged the surrounding environment with the project. Additionally, the goal was to express the inseparable influence of Ferdowsi's work on the culture and beliefs of this land.

    By placing two intersecting pathways, we connected the four corners of the site with the urban space. This pattern is inspired by the concept of the traditional Iranian Chaharbagh, rooted in Iranian architecture. Historically, emphasis on the central point of structures has been significant; for example, in mosques, the central point is often adorned with a pool and water to enhance the spirituality and meaning of the space. In this design, by positioning functional spaces around the movement axes, the cultural space's requirement, which attracts the observer to the center of the complex, is fulfilled.
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    Ferdosi cultural center

  • Ferdosi cultural center

    Continuing from the previous slide

    The "Shahnameh" is embodied in the form of paintings; visitors to the complex have an all-encompassing view of this permanent installation through the sunken gardens used for vertical circulation.

    One of the most significant features of the project site is its 45-degree angle difference with Ferdowsi's tomb. By rotating the central heart of the project 45 degrees towards Ferdowsi's memorial, we paid homage to the creator. This action created a visual and conceptual connection between the site and the memorial. This tribute acknowledges the roots and foundations of Iranian culture. Additionally, incorporating an opening for light to enter from above these columns emphasizes the spiritual essence of the space and its creator.

    By positioning the public display space beneath this symbolic area, we preserved Ferdowsi's perspective on the work. This permanent installation of Ferdowsi serves as a spatial representation of Iran's cultural masterpiece.
    Text continues on the next slide.

  • Ferdosi cultural center

    Continuing from the previous slide

    From the intersection of the movement axes, the central space in the project was formed, creating the most important part of the project. This pause space became a symbolic place for introducing Ferdowsi. By placing vertical columns in this space, a place was created to narrate the stories of the Shahnameh in the form of paintings; visitors to the complex, through the sunken gardens used for vertical circulation, have an all-encompassing view of this permanent installation.

    One of the most significant features of the project site is its 45-degree angle difference with Ferdowsi's tomb. By rotating the central heart of the project 45 degrees towards Ferdowsi's memorial, we paid homage to the creator. This action created a visual and conceptual connection between the site and the memorial. This tribute acknowledges the roots and foundations of Iranian culture. Additionally, incorporating an opening for light to enter from above these columns emphasizes the spiritual essence of the space and its creator.

    By positioning the public display space beneath this symbolic area, we preserved Ferdowsi's perspective on the work. This permanent installation of Ferdowsi serves as a spatial representation of Iran's cultural masterpiece.

  • diagram 1 - Ferdosi cultural center
    Movement axes connecting the Urban-space and the project

    (Defining the main geometry of the project)

    diagram 2 - Ferdosi cultural center
    Positioning of Masses around movement axes

    Separation of functional Spaces into individual Volumes (for independent access)

  • diagram 3 - Ferdosi cultural center
    Creating a Plaza and Urban Square in the Project's Center

    (Reducing the central space where the axes intersect from volumetric masses)

    diagram 4 - Ferdosi cultural center
    Formation of Vertical Circulation for Functional Volumes Along the Central Space

    Combining Vertical Access with Skylights and Green Space

  • diagram 5 - Ferdosi cultural center
    Positioning the Gallery Volume as a Loop Over the Functional Spaces

    (It also serves as a connecting axis for the volumes)

    diagram 6 - Ferdosi cultural center
    Creating a Permanent Installation of Ferdowsi at the Center of the Project, Enriching the Middle Plaza Space

    (Visiting Ferdowsi's heritage at any moment)

  • Ferdosi cultural center

    Space Utilization

    Cultural Products Sales, Cafe

    Open-Air Performance Stage

    Children's Library

    Administrative, Conference

    Library

    Educational

    Gallery

  • render - Ferdosi cultural center
  • render - Ferdosi cultural center
  • render - Ferdosi cultural center
  • render - Ferdosi cultural center
  • Ferdosi cultural center

    Illustration Installation of Shahnameh (Visuals) +
    Shahnameh Reading Stage (Audio) =
    Combining Visual and Auditory Perceptions

    when we ware Designing the Ferdowsi Installation, Utilizing the following information, we divided the central volume into 9 sections to reference the three mythological trilogies mentioned in the Shahnameh:

    The presence of trilogies is one of the manifestations of the number three in the Shahnameh.

    This number, with its symbolic meaning of "perfection," is used in most religions, cultures, and mythologies to represent the ultimate good or evil.

    In the myth of Zahhak, trilogies represent the mythical significance of the number three. The threefold appearance of Ahriman to Zahhak drives him to the peak of tyranny and oppression.

    Additionally, the disruption of Jamshid's trilogy by Zahhak and the subsequent destruction of Zahhak's trilogy by Fereydun exemplify this concept.

    Source: Iranian Studies, Sixteenth Year, Spring and Summer 1396, No. 31.

  • render - Ferdosi cultural center
  • render - Ferdosi cultural center
  • render - Ferdosi cultural center
  • 3rd floor plan
  • 2nd floor plan
  • 1st floor plan
  • ground floor plan
  • 1st basement floor plan
  • 2nd basement floor plan
  • section 1
  • section 2
  • section 3
  • render - Ferdosi cultural center
  • render - Ferdosi cultural center