Metro Station Beside the Historic Atiq Jame Mosque: How Far Back Does Contemporary Architecture Recede?

Isfahan – At a Manavin Tax session on architecture and creative industries, the design approach for the Line 2 metro station in the Imam Ali (AS) Square area of Isfahan was explained.

Ambassador of Arjan Provinces, Korosh Dibaj: Architecture, in relation to creative industries, is not only limited to building design and organizing space; Rather, through rereading historical identity, translating cultural concepts into the language of contemporary design, recreating urban spaces and shaping the lived experience of citizens and tourists, it provides the possibility of cultural communication between the local community and the global audience. In the meantime, the design of subway stations in the vicinity of historical heritage, the way of representing the architect's thought in the form of images and narratives, and the revival of neighborhood squares, are among the fields that reveal the link between architecture and creative industries and public diplomacy; A link that is especially important in Isfahan, with the architectural heritage of different historical periods, including facing the ancient Grand Mosque. This issue was discussed at the Manvin Tax meeting entitled Architecture and Creative Industries, a Public Diplomacy Tool, which was organized by the Presidential Vice President for Science, Technology and Knowledge-Based Economy on the sidelines of the Manvin Creative Industries National Event in Isfahan, with the presence of Ali Atrian, architect and panel manager, Ruhollah Saadatpour, architect, Shahab Shamaizadeh, architect, and Mohammad Ali Izadkhasthi, assistant governor of Isfahan for cultural heritage and creative industries and former CEO of Isfahan City Renovation and Improvement Organization.

Architectural design is the point of connection between creativity and urban identity

Ali Atrian, architect and director of the architecture and creative industries meeting panel, a tool of public diplomacy, pointed to the place of design in the process of producing architectural works and stated: architecture can be examined in two main stages; The design stage of the architectural work and the stage of its construction or implementation. The shape, form and beauty of architectural works, both in past historical periods and in contemporary architecture, are directly related to the design stage; A stage where creativity, ideation and knowledge of the architect play a decisive role.

He proposed the issue of connecting the urban identity of Isfahan with the design of metro stations and added: Although the metro moves deep underground, its space cannot be separated from the urban identity on the ground. This identity connection should be considered in the design of metro stations so that each station can reflect a part of Isfahan's identity according to its urban location.

The director of the architecture and creative industries meeting panel continued by referring to the design experience of Isfahan metro line 1 stations: In some stations of this line, especially in public spaces, an effort has been made to create a quality that fits the identity of the city; So that citizens can experience signs of Isfahan and its architectural features in the metro environment. This sensitivity is also important in the design of the second metro line.

In the following, Atrian proposed the design of the metro station in the area of Imam Ali Square (AS) and the Jame Atiq Mosque from the perspective of the relationship between contemporary architecture and historical heritage, and asked to explain how the design of this station meets the architectural and historical values of the Jame Mosque.

In another part of this meeting, he discussed the role of images in the process of architectural design and said: before reaching the implementation stage, architecture goes through ideation, studies and expert reviews, and the result of this process is presented in the form of three-dimensional images, plans and analytical and descriptive images. This process is part of the architectural design process, regardless of the use and scale of the project.

Pointing to the relationship between architectural visualization and the initial idea of the designer, Atrian added: The visual representation of a project should be able to clarify the logic of the design and the relationship between its components. This issue is more important in the projects that are formed in the historical and cultural background of Isfahan; Because contemporary design should be able to determine its relationship with the historical background and identity of the city.

The director of the meeting panel also emphasized the importance of the connection between architecture, urban design and historical context by referring to the experiences of recreating the historical context of Isfahan, including Dardasht neighborhood and its surrounding areas.

In summing up the meeting, Atrian said: Creative industries can establish a connection between various arts and experiences. Architecture, cinema, film, publishing and other fields of creativity have the capacity to form this link and can contribute to cultural interaction in a common path.

Line 2 of the metro in the vicinity of Jame Atiq Mosque should be designed with an approach of architectural modesty

Ruhollah Saadatpour, an architect, referring to the experience of designing metro stations in Isfahan, said: The decision to work in Isfahan came from the interest in this city and the attractiveness of the metro design experience on a large scale. Due to its historical background and the quality of spaces where citizens are present, Isfahan has different conditions from many cities. In moving between Zayandehroud, the historical context and urban spaces, the citizen encounters a series of cultural and historical experiences; Therefore, the design of the subway space cannot be indifferent to these features.

He added: When entering the Isfahan metro project, we had the experience of some metro lines in Tehran. Spaces that were mostly known for their industrial structure, crowding and increased traffic volume. The issue was whether we should continue the same path in Isfahan or create a different experience according to the characteristics of this city. From the very beginning, we tried to include Isfahan architecture in the design of the stations.

Emphasizing the difference between reinterpreting historical architecture and its objective reconstruction, this architect stated: We were not supposed to build a historical subway or repeat the stations that were built in other countries in the past, exactly in Isfahan. The goal was to bring the feeling, concepts and some patterns of Iranian architecture and style of Isfahan into the contemporary project and create an experience that fits the identity of the city.

Saadatpour continued: In order to achieve this goal, we consulted with experts in various fields and tried to have them present with the design group to determine which concepts, patterns and archetypes of Iranian architecture can be read in the metro space.

Referring to the use of the pit concept in the design of some underground spaces, he said: In one of the projects related to Shahada Square, an attempt was made to reinterpret the concept of the Iranian pit in the subway space. The goal was to allow natural light and sensory qualities related to it to enter the basement space and to provide a more peaceful experience in an environment where a large number of citizens pass through it every day. The use of skylights and the transmission of light deep into the ground were among the solutions that were considered to achieve this goal.

Referring to the place of traditional arts in the design of stations, this architect added: We tried to use the capacity of Iranian and Esfahani arts at a level beyond everyday and decorative use. In this way, cooperation with artists and masters of traditional arts made it possible to reinterpret some paintings and artistic patterns.

Saadatpour explained about the design of Shiraz Gate station spaces: One of the issues ahead was the existence of long, gallery-like spaces that lead passengers from the central area of the square to the peripheral areas. In this situation, the issue of bringing in light and creating open courtyards was raised to break the dryness and monotony of long routes and allow passengers to pass through brighter spaces with different light qualities.

Referring to the use of bricks in the design of stations, he said: despite some objections regarding the use of bricks in the underground space, we tried to bring the texture of bricks, which can be seen in many buildings of Isfahan in the city, to the metro environment as well. It was not intended that the station be transformed into a historical monument; Rather, part of the feel and quality of the city's architecture was supposed to be transferred to the basement space in the form of contemporary materials and design.

Referring to the design of the roof of one of the stations based on the traditional architectural patterns of Isfahan, this architect said: At Chaharrah Station, one of the patterns of Isfahan's arch and application was reinterpreted using contemporary materials and technologies. This idea was implemented on a large scale, with openings of nearly 30 meters and a height of about seven meters, in the form of a concrete roof with a visible surface. The goal was not to replicate historical architectural details; Rather, an attempt was made to create a familiar feeling of past architecture in the new space by preserving the nature of contemporary materials.

Old Grand Mosque; Designing the station by avoiding visual competition with the historical monument

Saadatpour, explaining the design approach of metro line two station in the area of Atiq Jame Mosque, said: Isfahan Jame Mosque is a historical complex that includes different periods of architecture and its various historical layers can still be seen. Working in the vicinity of such a building, in addition to technical considerations, requires special respect and sensitivity in design.

He added: In the design process of this project, specialized groups of architecture and art were present and the designs were evaluated in the framework of expert reviews. The first issue we faced was that we should not design a space next to a building of this magnitude that would compete with it. Our approach was a kind of architectural silence and humility; Similar to the feeling that is formed in the alleys and paths leading to the Grand Mosque and prepares a person to enter the historical monument.

This architect clarified: There was no intention to build another mosque in the basement or to repeat the glory of the historical building in a new form. We tried to think about simplicity and preparation for entering the historical space; In such a way that the presence in the central and historical area of ​​Isfahan and the vicinity of Atiq Square and Jame Mosque is felt in the experience of the traveler.

Describing one of the design decisions, Saadatpour said: In the design, an inner shell with an arched shape was considered, which is inspired by the shape of the dome of the Jame Mosque; Of course, this shell is not going to rebuild the same dome. The goal is to use a formal gesture and transfer part of the sense of historical architecture in a contemporary format.

He continued: In order to achieve the desired color and quality, we collaborated with a knowledge-based group active in the field of concrete technology to produce a special concrete with the color and mood of straw. This material should provide the possibility of forming the designed shell while having the required technical characteristics and resistance.

This architect also mentioned the reinterpretation of historical motifs in the design of the station and said: "There was a discussion with Isfahani artists about the redesign of some motifs and works of art related to the historical periods of the Jame Mosque, so that these patterns are used in a format suitable for the surface and contemporary materials." It was intended that the new space, without directly imitating the historical building, should be a reminder of Isfahan's artistic heritage.

The architectural image should reveal the logic of idea formation to the audience

Shahab Shamaizadeh, an architect, referring to the place of image presentation in the architectural design process, said: In architectural projects, there are many layers, and the implementation part is usually seen more than other parts; However, the architect's thinking stage, the formation of ideas and the compilation of schemas, takes place in the privacy of the design space and is less exposed to the public. While an important part of the architectural process is formed at this stage.

He added: When the design ideas and concepts are not translated into image language, the audience does not have the possibility of direct access to the internal logic of the project during the execution stage. To understand this logic, images, diagrams and sometimes animations are needed to clarify the architect's mindset about the project.

Referring to examples of Isfahan's historical architecture, this architect said: The rotation of Sheikh Lotfollah Mosque's dome towards the entrance is an example of an architectural decision that leads to the formation of a path between dark and light space. Such examples can be an inspiration for contemporary projects; provided that the design logic and the relationship between the components of the work are correctly known and represented.

Shamaizadeh continued: Architecture diagrams or diagrams help the architect identify the main relationships and patterns of a project and present them in an understandable way. About 13 years ago, I started studying this field; At that time, educational resources and case studies available in Iran were limited and an important part of the knowledge of this subject was obtained through foreign reference books and discussions with experts.

Referring to the interdisciplinary nature of architectural presentation, he stated: In this field, architecture is linked with graphics. To represent a work, one must first know the architectural structure and its patterns; For example, the Khajo bridge has a linear system, while the square can be organized according to the principle of centrality, and the peripheral passages and paths direct the movement of the crowd towards it.

This architect added: In addition to knowing the architectural structure, it is important to know the language of graphics, including the use of color, font, scale, size and composition of images. The combination of these two areas leads to the formation of a language for the presentation of architecture, which can make the logic of the design clearer for the audience.

Referring to the application of this method in architectural competitions and events, Shamaizadeh said: The images presented in architectural competitions and international events provide the possibility of introducing the design structure of the project to the general audience and judges, and create a context for more effective communication between the audience and the architect's idea.

In describing the experience of presenting a project in the atmosphere of international competition, he stated: In such a project, the issue was that the audience and the foreign judge could recognize the cultural and geographical origin of the project from the very first glance. For this reason, a research was conducted on Iranian painting, especially Isfahan painting, in order to form a narrative structure for the visual presentation of the project.

This architect continued: Iranian painting, despite its many details, has an important feature called narrative orientation. This feature can be used in designing a horizontal page to present architecture; In such a way that the audience can follow the path of narration and communication between different parts of the plot. At the same time, the architectural presentation should be simple and clear and avoid unnecessary clutter.

Referring to the role of the cultural context in the presentation of architectural works, Shamaizadeh said: In order to understand the visual language of an architect, it is sometimes necessary to carefully examine his executive works, his intellectual path, and his design features. This knowledge can be used in the choice of color, the structure of diagrams, catalogs and other means of presenting the work. The cultural and intellectual context of the project, if accurately represented, can help convey the architectural idea better.

Historical squares can form the path of communication between tourists and creative industries

Mohammad Ali Izadkhasati, assistant governor of Isfahan for cultural heritage and creative industries and former CEO of Isfahan City Renovation and Improvement Organization, explained the experience of intervention in the historical fabric of Dardasht and said: in a period of about five years, nearly 60 construction and urban projects were designed and implemented with the aim of improving the quality of life in this area. These projects covered a range of actions, from connecting the appearance and landscape of the neighborhood to the restoration of historical buildings.