Bahador Kashani Madani گۏن گپ و تران

I have about 20 years of experience in architecture, interior design, and construction. My work includes residential, commercial, public, and interior projects, combining creative thinking, technical knowledge, and practical experience.

My interest in art from an early age, combined with my father being an architect, naturally led me toward architecture and design.

My priority is to understand the needs of the users and the character of the space. I focus on functionality, natural light, simplicity, and honest use of materials, while combining creative thinking with technical knowledge.

I feel curious and excited when designing. I enjoy exploring different ideas, solving problems, and gradually finding the right solution.

My background in architecture, construction, and interior design has shaped me greatly. Working closely with buildings and craftsmen has taught me to combine creative ideas with practical and technical knowledge.

I want to continue developing my work as an architect and interior designer in London, while learning from new experiences and challenges. My dream is to design meaningful spaces that have a lasting impact on people and their surroundings.

Keep learning and expand your knowledge as much as possible. Look at great work, study different fields of art and design, and most importantly, develop your own way of thinking.

Stay curious, keep learning, and never stop looking at great work. Be honest in your design, develop your own way of thinking, and always try to improve.

My day usually starts with breakfast with my wife and son, followed by some light exercise and stretching. I spend most of the day working on my design projects, then spend the evening with my family. Late at night, when everything is quiet, I often find my best ideas.

I keep up with design through books, exhibitions, projects, and by observing the work of other designers. Trends are useful to understand, but I do not believe good design should simply follow trends. Authenticity and the needs of the project are more important.

For me, good design comes from honest thinking and knowledge. It should respond clearly to the needs of its users while balancing function, aesthetics, and context.

I consider a design ready when the main ideas are clear, the needs of the users are properly addressed, and the design feels complete without unnecessary elements.

One of my most significant design projects is Tamrin Space, the restoration and transformation of an old house in Tehran into a multifunctional space for music and theatre artists.

Peter Zumthor. I admire his approach to material, light, atmosphere, and the way his architecture creates a strong sense of place.

I come from a Persian cultural background, where art, architecture, hospitality, and family have always been important parts of life. My lifestyle is closely connected to my family, my work, and my interest in art and architecture.

I believe good work comes from collaboration, honesty, and attention to detail. I value close communication with clients, designers, and craftsmen, while giving ideas enough time to develop and always keeping the quality of the final result in focus.

I believe that preserving architectural heritage and giving old buildings a new life can be a contribution to society. Through my work, I try to respect existing buildings, preserve their identity, and create useful spaces for future generations.

It has been a valuable experience to share my work with an international audience, receive recognition, and connect with other designers and architects from different backgrounds.

The main idea was to preserve and continue the life of an old building rather than demolishing it and building anew. We wanted to respect its history, character, and imperfections while giving it a new life and purpose.

Our main focus was to preserve the identity and character of the existing building while transforming it into a functional and inspiring space for artists to work, practice, and create.

My hope is simply that Tamrin Space continues to live and evolve as a home for artists, while preserving the character and identity of the original building.

The design process was a long and iterative one. We had to learn from both the existing building and the client’s needs while developing the design. I would say it took around six months to arrive at the overall concept.

The project was commissioned by the client, but the concept developed through our collaboration. We learned from the existing building, its history and character, as well as the client's needs, and these became the main inspiration for the design.

This is a completed architectural project, designed and implemented specifically for the client.

The opportunity to give an old house a new life and transform it into a place where artists could work, practice, and create was the main motivation behind this project.

There was no particular designer or project that directly influenced the design. The main source of inspiration was the existing building itself, its history, character, and the traces of time.

The main users are music and theatre artists who need a place to practice, work, create, and share their work

What sets this project apart is that it is not simply the restoration of an old house. It is about bringing the same old house back to life, preparing it for new users, and responding to their needs while preserving its identity and character.

We thought a lot about the name together with the client and had several discussions before arriving at the final name, which was chosen by the client.

“Tamrin” is a Persian word that means practice and training. It reflects the nature of the space, where people involved in theatre and music come to practice, learn, teach, and improve. Both the permanent members and visitors are always practicing, learning, and trying to become better.

We used a combination of hand sketches, paper and pencil, drawings, and digital tools. The process started with observing and understanding the existing building, then developing ideas through sketches, drawings, and digital visualizations.

The most unique aspect of the design is that we did not try to make the old house look new. Instead, we allowed its history, character, and traces of time to remain, while giving the building a new life and a new purpose for its new users.

I collaborated with a young and talented design team, as well as a group of skilled contractors whom I had worked with for many years. Their practical experience was very valuable, and some parts of the design were finalized after discussing and consulting with them.

Technology played a supporting role in the design process, mainly through digital drawings, visualizations, and technical analysis

Yes. The design was strongly influenced by our analysis of the existing building and its potential. We studied the building’s history, structure, natural light, ventilation, access, existing spaces, and architectural details. We also spent considerable time understanding the client’s needs and the requirements of the future users. These observations and analyses guided many of our design decisions.

One of the main challenges was transforming an old and deteriorated building to meet the needs of its new users without losing its original character and identity. We also faced significant structural and technical challenges, as the existing building required extensive reinforcement and repair.

Another challenge was finding the right balance between the client’s evolving needs and the limitations and potential of the existing building. The design developed through an ongoing process of discussion, analysis, and adjustment until these different requirements came together.

We wanted to share the project with a wider international audience and have the design evaluated beyond our local context. We felt that the ideas behind Tamrin Space, particularly the approach of giving an old building a new life while preserving its identity, could be meaningful in a broader architectural context.

This was the first time I had restored a house of this age, and I learned something new every day. The building constantly revealed new details, challenges, and surprises, making the whole process a valuable learning experience for me.

Tamrin Space was not only about restoring an old house. It was also about preserving a small part of Tehran’s identity and memory. I believe this is what Tehran needs today: preserving the identity of the city instead of destroying its past, and giving old buildings a new life and purpose.

I hold a Bachelor's degree in Mechanical Engineering and a Master's degree in Architectural Engineering. This unique combination of disciplines has significantly influenced my design approach

My primary motivation to become a designer was my father—he was a renowned architect in Iran, and growing up around his work had a profound impact on me. Watching his passion, creativity, and the way he could shape the world around him through architecture inspired me from an early age. Beyond that, I’ve always been deeply drawn to the act of creation itself—the process of turning an abstract idea into a tangible form that can affect people’s lives

I primarily focus on architectural design, and one of my core principles is responding thoughtfully to the context and cultural background of each project. I have a deep appreciation for vernacular architecture and how it reflects the identity and traditions of a place. At the same time, I am also strongly drawn to modern, functional architecture—designs where form follows function and unnecessary elements are avoided.

Most of my projects in Iran embody a synthesis of these two values. They represent what I would call a form of contemporary Iranian architecture—modern in expression, yet rooted in local identity and adapted to the environment. I am especially interested in continuing to explore this balance, designing more projects that harmonize contextual sensitivity with modern functionality.

The single most important step is active study through close observation. Spend time with well-designed buildings—walk the city, enter the spaces, linger, sketch, photograph, and ask why every line, joint, or material choice exists. Let the built environment become an open-air classroom where you train your eye for proportion, detail, and context.

Combine this daily field research with reading, drawing, modeling, and hands-on experimentation; theory means little until you verify it against real architecture. Record what you discover, question established solutions, and seek mentors who push you further. Over years, this disciplined curiosity turns raw talent into informed intuition—exactly the quality that elevates a designer from practitioner to legend.

What truly distinguishes a good designer from a great one is attention to detail. While a good designer may solve the overall problem and create a functional and aesthetically pleasing solution, a great designer goes further—carefully considering every small element, every transition, every material joint, and how all parts work together in harmony.

Great design is often invisible at first glance—it’s felt in how natural and effortless the experience is. That level of clarity and refinement comes only from a deep commitment to detail, precision, and craftsmanship. It’s in the quiet discipline of perfecting what others might overlook that a designer becomes truly exceptional.

The value of good design is immense—it directly impacts the quality of life, behavior, and even the emotional well-being of individuals and communities. As designers, we are morally obligated to offer the best possible solutions, because design doesn’t just affect one person—it shapes the lives of many.

A poorly designed building, space, or product can lead to confusion, discomfort, inefficiency, or even harm. In contrast, thoughtful and well-executed design can inspire, heal, and uplift. This is why investing in good design is not a luxury; it is a necessity. The long-term cultural, social, and economic benefits far outweigh the initial cost. In short, good design is not just about beauty—it's about responsibility.

My dream project is to restore and redefine a well-known, historically valuable old building. I am passionate about breathing new life into architecture that holds cultural and historical significance, while adapting it thoughtfully to contemporary needs.

This kind of project offers a unique challenge—balancing preservation with innovation, respecting the past while creating something meaningful for the present and future. I believe such work can deeply connect people to their heritage and inspire new ways of living and experiencing space.

My secret ingredient for success in design is being physically present at the project site—repeatedly and at every key stage of the design process. No amount of drawings, photos, or maps can replace the insights gained from walking the site, feeling its scale, observing its surroundings, and absorbing its atmosphere.

Equally important is the willingness to revisit the design again and again, to question assumptions, refine concepts, and allow the project to evolve naturally. I believe good design is not a straight line—it’s a process of continuous return, reflection, and refinement. That persistence and deep engagement with the place are what give the final design its strength and clarity.

The works of Peter Zumthor have always been a profound source of inspiration for me. His designs embody the full spectrum of what I consider to be the values of great architecture—from the conceptual idea and intellectual depth behind the project, to the emotional atmosphere, material choices, and meticulous attention to detail.

Zumthor’s work doesn’t just look beautiful—it feels meaningful. Every element, every texture, and every spatial transition is deliberate and thoughtfully integrated. He creates buildings that engage the senses and resonate on a human, almost poetic level. That balance of philosophy, function, and feeling is what I deeply admire and aspire to in my own work.

Each of my projects contains elements that I feel personally connected to—details, ideas, or spaces that I deeply care about. But if I had to choose one, the Tamrin Space Cultural Center stands out as the project I feel most emotionally close to.

What makes it special is not just the design itself, but the entire journey: the nature of the project, the unique relationship with the client, and the thoughtful process of redesign and transformation. It was a project where I could truly engage both intellectually and emotionally, and that level of involvement brought out something deeply meaningful. It reflects not only my design values but also my personal growth as a designer.

If I hadn’t become a designer, I would have likely become a filmmaker. In my youth, I was deeply passionate about cinema—I saw filmmaking as a unique, interdisciplinary art form that brings together all the other arts: visual storytelling, music, architecture, writing, rhythm, and emotion.

Later, when I discovered architecture, I realized it shared many of the same qualities: it tells stories through space, it shapes experiences, and it requires a balance of logic, creativity, and emotion. In a way, I feel that both filmmaking and architecture are about directing human experience—one through time and narrative, the other through space and atmosphere.

First and foremost, I owe everything to my family and the environment my parents created for me and my brothers. My father laid the foundation—not just through his profession as an architect, but through the values he instilled in us. After his passing, my mother became both a mother and a father to us. Her strength, support, and unwavering presence were a guiding force in our lives.

My brothers, who have also been my collaborators in various projects, trusted me and stood by me every step of the way. Their belief in my ideas gave me confidence and courage. And finally, my wife, who at different points in my journey, reminded me of my purpose and helped rekindle my motivation when I needed it most.

I’ve never walked this path alone—and for that, I am deeply grateful.

My ultimate goal as a designer is simple yet deeply personal: to be the best version of myself for as long as I can—to keep pushing my limits and dedicating all my energy and creativity to the act of making.

Design, for me, is not just a profession—it’s a lifelong commitment to growth, exploration, and meaningful contribution. As long as I am able, I want to continue creating with purpose, honesty, and care—always striving to offer something valuable, however small, to the world around me.

Design—especially architecture, but not limited to it—plays a vital role in shaping society. Along with other art forms, it has the responsibility to cultivate culture and influence public taste. Good design can uplift everyday life, promote dignity, and foster a sense of identity and belonging.

When we design thoughtfully, we don’t just create objects or buildings—we shape the environment where values are lived and experienced. Design can encourage social interaction, inclusivity, sustainability, and beauty in everyday life. In that sense, designers are cultural contributors and shapers of collective memory. It’s not just about aesthetics—it’s about shaping the way people live, feel, and connect.

It really depends on many factors. Sometimes the core concept reveals itself quickly and the design process flows naturally from that point. Other times, reaching that central idea requires more time, exploration, and iteration.

Each project has its own pace, influenced by the context, complexity, the client’s vision, and even emotional and intuitive responses. I’ve learned not to force a design to “arrive” too quickly. Good ideas often take time to mature, and I value that process just as much as the final outcome.

For me, every design begins with research and site presence. I start by studying the project thoroughly—its function, context, users, and constraints. But most importantly, I try to be physically present at the site early in the process. Walking through the space, observing its atmosphere, light, noise, surroundings, and feeling its energy allows me to connect with the project on a deeper level.

This first-hand experience gives me insights that no drawing or map ever could. I believe that good design starts with listening to the place—and only then can meaningful ideas emerge.

I strongly believe that design sets the trends, not the other way around. It is the work of creative, intelligent, and forward-thinking individuals that defines what’s next. True design doesn't follow—it leads. It challenges conventions, introduces new perspectives, and opens doors to possibilities that people may not have imagined yet.

While trends may reflect popular taste at a given time, meaningful design shapes culture at a deeper level. It anticipates needs before they are voiced and responds with clarity and purpose. In that sense, design is not a reflection of trends—it is the force that creates them.

Technology plays a crucial and transformative role in my design process. It’s one of the primary forces that drives architecture—and all the arts—forward, pushing them into new phases of possibility and expression.

From digital modeling and simulation to material innovation and construction techniques, technology expands our ability to think, visualize, and build in ways that were once unimaginable. But beyond tools and software, technology also influences how people live, interact, and experience space—so as designers, we must understand and engage with it meaningfully.

I see technology not as a substitute for creativity, but as a powerful partner in the creative process.

I currently use a range of traditional and digital design tools, including architectural modeling software, CAD programs, and 3D visualization tools. While I haven’t yet fully integrated AI into my workflow, I strongly believe that its role in design is inevitable and rapidly growing.

I wish people would ask about the details we carefully considered and worked hard to execute in the best possible way. Often, the true value of a design lies in these subtle elements—those thoughtful choices and refinements that may not be immediately visible but greatly influence the experience and functionality.

By asking about these details, people can better understand the depth and intention behind the work, and appreciate the care and dedication invested in creating something meaningful and lasting.

I’m not sure if any specific book has directly influenced my design work, but “The Little Prince” (Le Petit Prince) has had a significant impact on my outlook on life.

Regardless of time and space, I would love to meet, talk, and discuss with the great Persian poets like Saadi and Hafez. I am deeply fascinated by what went on in the minds of these brilliant artists and thinkers—how they were able to create such timeless masterpieces that continue to inspire people across generations.

Their profound understanding of human nature, life, and spirituality would be an incredible source of insight and inspiration for any creative mind.

I believe that media and publicity play the biggest role in gaining fame, and not necessarily the effort and art of the artist alone. While awards and recognition are valuable and encouraging, becoming truly well-known often depends on how effectively the work is communicated and shared with the public.

Fame can be both a blessing and a challenge, but ultimately, I focus more on the quality and sincerity of my work rather than the spotlight it receives.

Favorite color: Green

Favorite place: My homeland, Iran

Favorite food: Kebab

Favorite season: Autumn

The most important source of motivation for me as a designer is music. A great day happens when I’m inspired and energized by the right sounds, which help me focus, spark creativity, and keep my enthusiasm high throughout the design process. Music sets the tone and mood, making even challenging tasks feel more enjoyable and rewarding.

As a child, I was good at drawing and had a strong sense of observation. I paid attention to the details around me and enjoyed expressing ideas visually. Looking back, these were probably early signs that I would pursue a creative path. While it wasn’t certain at the time that I would become a designer, those abilities definitely pointed in that direction.

To be honest, I prefer not to think too much about the distant future. Not just in art, but in many aspects of life and the world, things don’t seem to be heading in a very hopeful direction. The increasing complexity, disconnection from nature, and overwhelming speed of change make it difficult to imagine a thousand years from now with optimism.

I want my fans and others to know that I truly have no special advantage or superiority over anyone else—and I emphasize that. Every person has the potential to be their best in their own field and in their own way.

I hold a Bachelor's degree in Mechanical Engineering and a Master's degree in Architectural Engineering. This unique combination of disciplines has significantly influenced my design approach. If I hadn’t become a designer, I would have likely become a filmmaker. In my youth, I was deeply passionate about cinema—I saw filmmaking as a unique, interdisciplinary art form that brings together all the other arts: visual storytelling, music, architecture, writing, rhythm, and emotion.

Our architecture studio is a family-run practice, where my brothers and I have continued the path of our late father, who was also an architect. It is a small but highly creative team, and we focus on thoughtful, context-driven designs.

For me, design is creation—the act of bringing something meaningful into existence. It is about shaping ideas into form, solving problems with beauty and function, and leaving behind something that connects with people.

My dream project is to restore and redefine a well-known, historically valuable old building. I am passionate about breathing new life into architecture that holds cultural and historical significance, while adapting it thoughtfully to contemporary needs.

Each of my projects contains elements that I feel personally connected to—details, ideas, or spaces that I deeply care about. But if I had to choose one, the Tamrin Space Cultural Center stands out as the project I feel most emotionally close to.

The first project I designed entirely on my own, outside of a design team, was a house where my wife and I were going to begin our life together. We designed the house together, with my wife’s input and collaboration, and I personally oversaw and carried out its construction.

I believe every material, platform, or technology can be valuable—when used in the right context. No single material is inherently better than another. What matters is how creatively and appropriately it is applied within a specific project.

All these tools should serve the vision of a thoughtful and creative architect, who selects them based on the unique needs of the site and the essence of the design.

There’s no fixed time when creativity strikes—it can happen at any moment, even in sleep. However, I generally feel most creative during the night. The quiet and stillness of nighttime often allows deeper reflection and freer imagination.

I believe every aspect of a design is important. From concept and functionality to details, materials, and context—each part must be thoughtfully developed.

If even one element is weak or neglected, it can eventually compromise the integrity of the entire project. Design is a holistic process, and excellence requires balance across all layers.

Curiosity and a strong desire to find the right answer. For me, design is a journey of exploring ideas and finding the best solution.

The feeling of being a creator, which is one of the best feelings.

To me, the core of a successful design is honesty—honesty in intention, in process, and in execution. A design should reflect a genuine response to the context, the needs of the users, and the essence of the idea behind it.

When a design is honest, it connects with people on a deeper level, and that authenticity is what gives it lasting value.

The honesty and knowledge behind the design thinking.

A designer holds significant responsibility toward both society and the environment. On one hand, we must be deeply mindful of environmental impact—designing sustainably, minimizing waste, and respecting natural resources.

On the other hand, we carry a cultural responsibility: to elevate public taste, inspire better lifestyles, and contribute to a more thoughtful and humane built environment. This can only be achieved through honest, committed, and meaningful design.

I believe design is undergoing a fundamental transformation, mainly driven by the rapid development of AI.

My design inspiration comes from being constantly exposed to high-quality art and staying immersed in it. This includes everything from music to cinema.

I believe that surrounding myself with diverse and meaningful artistic expressions feeds my creativity and opens new ways of thinking, which then influence my design work.

My design style is a blend of modern functional architecture deeply rooted in local context and culture. I pay close attention to the project’s environment and background, aiming to create works that respect and reflect the native heritage while embracing modernity.

I have been naturally drawn to this style because I believe in form following function—designs should avoid unnecessary elements and focus on purposeful, meaningful solutions. This approach allows me to create architecture that is both practical and emotionally resonant.

I live in Iran, a country with an extraordinary architectural heritage. One of the greatest achievements of Iranian architects has been their deep understanding of the site’s context and climate, and their ability to create designs that harmonize perfectly with these conditions.

This rich cultural background profoundly influences my work. Designing in Iran offers the advantage of drawing inspiration from centuries of architectural wisdom, but it also presents challenges, such as balancing tradition with modern needs and dealing with local regulations and resources.

I always try to build a good relationship with companies, because I believe we can learn a lot from good collaborations.

Choose a designer whose thinking, knowledge, and approach match the company’s values, and give them the freedom to explore and create.

My design process always begins with thorough research and physical presence at the project site. Understanding the context, climate, and cultural background is essential to create a design that truly fits its environment.

I believe that every detail matters, so I constantly revisit the design, reflecting and refining it at different stages. This iterative approach helps me ensure that the form follows function and that no element is unnecessary.

Five of my favorite design items at home are the bathroom, the toilet, the kitchen, the bedroom, and the workspace. These spaces are essential for daily life and offer opportunities to combine functionality with comfort and aesthetic appeal.

My day always starts with breakfast with my wife and son, followed by some light exercise and stretching, which is almost a kind of meditation for me. I spend the day working on my design projects until the afternoon, then pick up my son from school and spend the evening with my family over dinner.

Finally come my favourite few hours of the day—the late hours of the night, when everything is quiet and peaceful. This is when some of my best thoughts and ideas come to me.

Expand your artistic and general knowledge as much as you can. Look at great work, look at great work, and look at great work.

From my perspective, the positive side of being a designer is the joy of creating and being a creator. It’s fulfilling to bring ideas to life and shape environments that impact people’s lives.

On the downside, designers can be very sensitive and emotional, which sometimes makes the process challenging but also deepens the connection with the work.

My secret ingredient for success in design is being physically present at the project site—repeatedly and at every key stage of the design process. No amount of drawings, photos, or maps can replace the insights gained from walking the site, feeling its scale, observing its surroundings, and absorbing its atmosphere.

The most important skills for a designer include attention to detail, creativity, and the ability to deeply understand the context of a project. Being observant and curious helps in discovering what truly works.

Books by great painters, paper, and a pencil.

Designing can indeed be very time-consuming, so I manage my time through careful planning. Breaking the project into stages and setting clear goals for each phase helps me stay organized and focused, ensuring steady progress without losing sight of details.

It really depends on many factors. Sometimes the core concept reveals itself quickly and the design process flows naturally from that point. Other times, reaching that central idea requires more time, exploration, and iteration.

How much do you charge for your design?

Every project is unique and deserves a unique design approach. This perspective has been my most important job experience—understanding that no two projects are the same and that each requires its own careful and thoughtful design process.

Some of my notable clients include Navid Gohari and Mohammad Forghani.

I enjoy working on designs that deeply respect the context and environment of the project. For me, local and modern architecture that combines functionality with meaningful form is very rewarding. Projects like those I have done in Iran, which blend modern architectural principles with local culture and climate, are especially fulfilling because they create spaces that feel authentic and purposeful.

To establish myself as an architect and interior designer in London and continue developing my work here.

Most of the core ideas and the main concept of my designs are developed quietly and individually in my mind. However, as the project progresses, I collaborate closely with my team, including my brothers, to refine and realize the design.

People can contact me through my social media channels. I’m active there and welcome any inquiries or collaborations.

One of the primary goals in the renovation of the Tamrin Space was to preserve the authenticity of the original structure with minimal intervention. However, the introduction of a full-height vertical void with a glass floor and glass handrail was a carefully considered solution to a key challenge: the lack of natural light in many interior areas. This light well channels daylight deep into the lower levels, significantly reducing reliance on artificial lighting and creating a visual and spatial connection between floors. Through this subtle yet purposeful intervention, the overall spatial quality and user experience were greatly enhanced—without compromising the building’s original character.

Our design philosophy for the Tamrin Space was deeply rooted in respecting the building’s historical legacy while adapting it to meet contemporary needs. Features such as the soot-stained bricks and vaulted ceilings are not merely architectural details; they are tangible narratives that embody the building’s stories and character.At first glance, the old soot-blackened cavities—originally designed to channel smoke from oil heaters—might have seemed like elements to be concealed. However, by deliberately exposing them, we revealed a lesser-known part of the building’s history and heritage. Preserving and showcasing these features was essential to creating an authentic atmosphere that invites visitors to connect with the cultural legacy embedded within the space.This connection to the past enriches the cultural experience by creating a layered environment where history and modernity coexist harmoniously. It allows users to feel a sense of continuity and respect for tradition while engaging with the innovative and dynamic functions of the restored center. In this way, the building becomes a living museum—a place where memory, culture, and contemporary creativity intersect and inspire.

Given that the project is located in Tehran—a city crisscrossed by numerous active earthquake faults—ensuring the building’s future resilience was paramount in breathing new life into this historic structure. Structural integrity was therefore a key focus of the restoration.The integration of shear walls and a unified foundation system addressed seismic and load-bearing demands effectively, securing the building’s longevity and safety. Shear walls provide critical lateral stability against seismic forces, while the unified foundation evenly distributes loads, minimizing differential settlement and structural stress.Importantly, special attention was paid to the architectural expression of these structural elements. Most of the new concrete shear walls, as well as many of the steel beams and columns, were deliberately left exposed, harmonizing engineering functionality with the building’s aesthetic. This careful integration preserved the openness and fluidity of the interior spaces, striking a balance between rigorous engineering and artistic vision.

Achieving this balance was made possible through numerous collaborative sessions between the design team and the client. By deeply understanding the spirit of the activities the client intended to host, as well as the artistic approaches of the musicians and theater practitioners involved, we tailored the design accordingly.Notably, the client and project team are followers of Jerzy Grotowski’s theater methodology and admirers of John Cage’s musical philosophy—both of which emphasize raw, authentic expression often practiced in intimate, historically rich spaces. This artistic ethos perfectly aligned with the character of the historic building, reinforcing the decision to preserve its original fabric and atmosphere.Thus, rather than imposing modern performance conventions that might clash with the building’s heritage, we embraced an approach that allowed the building’s aged textures and spatial qualities to enhance the experiential authenticity of performances. This synergy between the artistic philosophies of Grotowski and Cage and the historic environment elevated the cultural and sensory experience for both performers and audiences.

As mentioned earlier, the most important principle in the restoration of this building was to intervene as minimally as possible, preserving the essence and inherent character of the original structure. Therefore, it was crucial not to impose a variety of new and contrasting materials onto the building.The design of the plaster elements emerged naturally from this philosophy. Rather than introducing foreign or disparate materials, these elements were crafted to extend organically from the existing walls, maintaining material continuity and visual harmony. This restrained approach respects the building’s authenticity and allows new interventions to coexist seamlessly with the historic fabric, reinforcing the core identity of the Tamrin Space.

In approaching this project, we embraced a dual responsibility for the building itself. Internally, the structure had to continue presenting itself as an authentic Iranian house within the urban context, preserving its original character and essence. This intrinsic mission guided us to maintain the architectural integrity and spirit of the house.Externally, the building’s transformation into a cultural and artistic center called for establishing a meaningful connection between this historic house and its surrounding environment—positioned as a new node within Tehran’s significant cultural district. The center needed to engage in a dynamic dialogue with other cultural landmarks nearby, weaving itself into the fabric of this vibrant artistic corridor.Moreover, by creating visual and conceptual links to the neighboring spaces, the center becomes part of a larger cultural narrative, inviting audiences and artists to experience a diverse spectrum of artistic expressions within a cohesive urban setting. In summary, the thriving artistic ecosystem not only inspired our architectural language but also enriched the programmatic diversity of Tamrin Space.

The garden serves as the initial point of encounter with the project; as visitors enter the building, they are greeted in the entry foyer by a solitary tree beside a large stone. This simple and natural arrangement creates a Zen-like atmosphere, where silence and tranquility are palpably felt. It is as if the light, introduced through the newly created void, finds its beautiful and meaningful culmination in this garden.This green oasis at the heart of the building offers a moment of calm and reflection, inviting both visitors and artists to reconnect with nature amidst the urban and architectural environment. The garden is not only a visual focal point but also a bridge between nature and the built form, breathing new life into the cultural and artistic atmosphere of the center. It creates a profound and poetic experience that intertwines human presence, art, and nature.

Balancing accessibility for people with disabilities and preserving the historical character of Tamrin Space Cultural Center was a significant challenge. Our goal was to ensure full participation and presence of all individuals, especially those with disabilities, without compromising the building’s heritage.Through careful analysis of the building’s structure and circulation paths, we integrated ramps and widened doorways in locations that minimized disruption while maintaining the architectural integrity. Materials and design details were chosen to harmonize with the historic elements, avoiding any sense of intrusive additions.Our ultimate aim was to create a space where everyone, particularly people with disabilities, can comfortably and respectfully engage with the cultural and artistic experiences, while remaining connected to the building’s rich history.

Since this building is an authentic structure originally designed by an experienced architect, throughout our familiarization process and during the removal of old materials for structural reinforcement, we encountered unique surprises and beauties at every stage. From the brickwork of the vaulted ceilings revealed beneath the plaster, to the soot-stained risers, each element told a story.In some parts of the walls, we discovered bricks bearing the manufacturer’s brand name etched some 80 years ago, which we showcased prominently within a dedicated frame. Additionally, from the floor of the southern courtyard building—a completely dilapidated structure—we uncovered old cement boards featuring diverse and intricate patterns. These were carefully repurposed in the flooring of the first-floor rehearsal hall, preserving a tangible link to the building’s rich history.

The success of Tamrin Space, honored with the Bronze A’ Design Award, serves as a meaningful example of how historical preservation and modern adaptation can coexist harmoniously. This project demonstrates that respecting the authentic character and heritage of a building does not hinder its functionality but rather enriches the cultural and social value it offers to the community.The honor of receiving a prestigious award like the A’ Design Award for this building can also serve as a powerful motivation for other developers and clients. It shows that investing in thoughtful restoration and sensitive adaptation not only preserves heritage but can also achieve recognition and success on an international level.I envision Tamrin Space inspiring future restoration projects in Tehran’s cultural district by highlighting the importance of thoughtful integration—where innovative design solutions meet preservation ethics. It encourages architects and developers to approach historic buildings not just as relics of the past, but as living entities that can be revitalized to serve contemporary artistic and cultural needs.