Esfahan Alahaka Hele Wāwae na Mohammad Rahimizadeh and Shaqayeq Nemati

ʻO Esfahan Alahaka Hele Wāwae na Mohammad Rahimizadeh and Shaqayeq Nemati he mea lanakila hanohano loa o ka 2022 A' Design Award Keleawe ma ka Māhele Hoʻokūkū Hoʻolālā Hale, Kūkulu a me Hōʻuluʻulu.

KeleaweHoʻolālā Hale· 2022

Esfahan Alahaka Hele Wāwae

na Mohammad Rahimizadeh and Shaqayeq Nemati

Mea Kūʻai: Kalbod Studio

Mea Lanakila A' Design Award Keleawe ma ka Māhele Hoʻolālā Hale

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Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #137566

Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Esfahan Alahaka Hele Wāwae

ʻO Esfahan he alahaka hele wāwae i hoʻolālāʻia no kahi wahi ma Isfahan, ʻIrana. Hoʻopili kēia alahaka i kahi kikowaena kālepa ʻenehana me kahi kīhāpai hale hōʻikeʻike, a lawelawe hoʻi i nā kulanui, nā keʻena noiʻi, a me nā ʻoihana kokoke. Ua kau ʻia nā keʻena hōʻikeʻike, nā pā waena, a me nā wahi hoʻomaha ma ke ala holoʻokoʻa, no laila e hana pū ana kēia alahaka i wahi ākea no ka lehulehu. Hōʻike ke ʻano o ke kūkulu ʻana i nā alahaka kahiko o Isfahan, me ka alahaka ʻo Khajoo. Ua hoʻohana ʻia ke kaulike ʻōnaehana o ke aka, no laila e hui pū ana ka helehelena o waho a me kona aka ma ka muliwai i hoʻokahi kumu hoʻohālike piha. He mālea nā keʻena o loko a hiki ke hoʻohana ʻia no nā hana like ʻole.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Keleawe

Ua lanakila ka hoʻolālā Esfahan Alahaka Hele Wāwae i ka A' Design Award Keleawe, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kūʻokoʻa i ʻike ʻia ma o ka hana noʻeau, ka akamai a me ka makakoho. He mau hana mākaukau a hana noʻeau kupaianaha nā lanakila Keleawe e hōʻoia ana i ka ʻike nui, ka noʻonoʻo a me ka maʻalea o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Esfahan Alahaka Hele Wāwae he mea i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia, he ʻoihana a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Keleawe e hoʻohui ana i nā hana maikaʻi loa o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana, a maikaʻi no kona nānā ʻana i nā kikoʻī. Hoʻokō maikaʻi ka hoʻolālā Esfahan Alahaka Hele Wāwae i nā pono, hoʻopā i ka makemake, hoʻohiwahiwa i nā manaʻo a huki i ka makemake e ʻike.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: Due to the location of the site in terms of proximity to universities and various industries and science and technology towns and educational and research institutions and proximity to the fourth ring of Isfahan and location on the main route Isfahan-Tehran and Isfahan Najafabad axis has made it possible to establish scientific research. And meet the mutual needs between the area of technology trade and innovation with educational institutions and industries.
Nā Ana a me ka Hoʻopili: 1. Creating an exhibition space
2. Inclusiveness of bridge space
3. The symbolism of the bridge
4. Spending leisure time for students and visitors
5. Create landscape spaces sometimes
6. Flexibility of different bridge spaces
7. Utilizing traditional architectural patterns to preserve the landscape of the city
Nā Lepili: Technology , bridge , Exhibition , Recreational , tourism , iran
ʻEnehana Hana: In the design of the bridge, reflective symmetry has been used, so that by reflecting the facade on the river surface, a complete pattern is created, such as the inner covering of the dome of Sheikh Lotfollah Mosque.
In the project, by considering different spaces in the bridge, an attempt has been made to design maximum dynamic and flexible spaces so that the user, in addition to using exhibition spaces at different times, can enjoy various spaces such as the central courtyard.
The central courtyards are located in front of the exhibition doors to help the exhibition with different spatial qualities when needed.
Pilikia Hoʻolālā: In the urban plan, the location of functional points is not specified according to the needs of students and professors around the University of Technology.
In addition to the relationship between the two academic districts, the urban element must also be considered
The quality of flexible urban space with gallery spaces has been considered by designers in project design.
The project design has arranged different spaces next to each other so that it can perform its adjacent functions properly. Decisions to select and organize uses will also be flexible depending on the circumstances.
Noiʻi: Due to the location of the site and close to the fourth ring of Isfahan and the traffic of students of Khomeini Shahr and Najafabad industrial and free universities and managers of various industries, as well as being located on the main route Isfahan-Tehran from the route and proximity to industrial factories and educational centers and institutions We are trying to design the communication route between the Technology Trade Center and the Museum Garden in a German way in order to attract people, investors and students in the field of technology.
Hoʻoulu Manaʻo: In designing the bridge, we have tried to use not only the Iranian people but also the international level, considering the historical bridges of Isfahan province, especially the Khajoo bridge, which spoke as a symbol of culture and technology between Isfahan bridges. It also has different functions and flexibility of the bridge with climatic and user conditions, which is one of the goals of this project. As a result, the project design process proceeds in such a way .
Ka Lōʻihi o ka Papahana: esfahan - iran
Kaʻina Hana: According to the surveys conducted in the bridges of Isfahan province, the communication routes have not only been a passageway for pedestrians, but also have pauses, gatherings and occasional views, as well as people spending their free time. Thirty-three bridges had three pauses at the beginning and end of the bridge called Saqakhaneh and in the middle of the bridge with the title of Manzar Gahi (Shahneshin Room).
In the architecture of the bridges, symbols and arches such as gable arches and song arches have been used, which were structurally correct.
Nā Lālā Hui: Mohamad Rahimizadeh - Shaghayegh Nemati - Atefeh Zolfagharifar -