Hayedeh Changizian House-Museum

First Element: Volumes

The volumes and frames formed on the facade and within the interior spaces carry multiple references. On the one hand, they evoke pre-Islamic Iranian architecture, such as the Gate of All Nations at Persepolis; on the other, they refer to the iwan in post-Islamic Iranian architecture, an element that, in addition to its structural role, has consistently served as an opening for display and as a threshold through which one looks into and enters a different space. Similar gateways already present in the existing building will, together with the new elements, create a coherent structure for the interiors.

The form of these volumes refers to this ancient architectural heritage. At the same time, the proposed material - a light-colored concrete with coarse aggregate and a terrazzo-like appearance - has been selected in view of the popularity of such materials in twentieth-century modern Iranian architecture, including in the host building itself. These volumetric elements perform a variety of functions in the design: wall, beam and column, spatial divider, bench, and display plinth for museum objects. By using a shared formal language and material palette, the design seeks to make clear that all of these components belong to the same family, creating continuity between interior and exterior spaces and between elements of different scales.

Second Element: Curtain

The second design element is the curtain, whose physical qualities contrast with, yet complement, the volumes: it is light, thin, translucent, movable, and flexible. The curtain has always been an important element of the performance stage and has been used in multiple layers for a variety of purposes. Here, in addition to defining the stage, it also organizes the space on the first floor. Another principal reason for introducing curtains into the museum is to bring the character of the existing space closer to the atmosphere of a home. The first-floor curtains, coordinated with the form and position of the volumes in plan, subdivide the museum in much the same way that houses - particularly Ms. Changizian's present home - are composed of rooms and smaller spaces. In addition, the curtains can be moved and repositioned, allowing a range of different scenarios to be created within the museum.

Plan

The ground-floor spaces follow the building's existing organization and are shaped to a large extent by the floor's mosaic pattern, which the proposal intends to preserve and emphasize. In this arrangement, all spaces can be used for performance as required. When a large auditorium capacity and a large stage are needed, Hall No. 1 is used for the performance. For smaller performances, Hall No. 2 becomes the audience hall and the rear courtyard becomes the stage.

On the first floor, because the museum requires several distinct spaces, the new design proposes a different organization. The floor finish is replaced and coordinated with the new elements. As a result, the gallery becomes brighter, the colors more uniform, and the space acquires a more contemporary character than the ground floor. By adding two frames, the two principal first-floor spaces can be divided into four smaller spaces. Depending on how the curtains are positioned, these can create varied circulation patterns and spatial experiences for visitors.

Existing Frames (Wooden Lintels)

The new design seeks to remain as harmonious as possible with the host building, correcting deficiencies while highlighting its distinctive qualities. One such quality is the wooden lintels above the doors and windows, which were revealed during investigative opening-up works. The design team's proposal is to restore and paint these elements and preserve them as representatives of the traditional architecture of the project's context, Tehran.

These elements enter into a distinctive dialogue with the new design and its contemporary components, creating an exchange between old and new architecture that expresses the nature of the project itself.