The site of the project is located in the Chitgar lake of Tehran. Due to the new urban structure and various constructions, this region has become a point of economic growth. The “ Sarv-e-Azad” town as a residential area is located in the southeast of the lake and adjacent to National Botanical Garden of Iran. The buildings of this area are up to three floors and are commonly constructed with three to six units.
One of the most important priorities in designing is the link between the three floors due to this issue that this building is designed for a family. So it is necessary to define new spaces and create space for users. In addition, vertical elements such as the stairs and patio in the center and at the end of the building can strengthen this connection.
The green elements, as the volumetric supplements of and space combinations, lead to the air conditioning and the health of space originally. In addition, the greenery works inside the building as the building's respiratory system, and in terms of perspective it brings the focus to the heart of the house.
The entrance of the house has symmetrical layout, with two doors adjacent to the entrance to the guest room and TV room. The reason for this symmetry is the compatibility of the doors. There are two wardrobes with shaved decoration of mirrors making reflexes in the sense of lighting and inviting. The doors of wardrobes have crystals and the handles are located on them. This piece is made in five different sizes in cresset-shaped layout. There is a table of stone and steel in front of the door.
Guest Room or drawing room is considered an important place in the house as the identity of a house and decorations can symbolize the originality and character of the host. Due to the classic style of the facade of the building as well as the use of modern architecture in the interior space, the use of Iranian architectural elements and the combination of them and the connection between them with the use of ancient arts such as decoration mirrors makes this space hearty and lively.
Water and mirror have been the symbol of purity, brightness; truthfulness and admiration in Iranian culture, and likely its use in architecture have the same meaning. In addition, the economic roots of the decoration mirrors should not be forgotten. In 10th century AH, the mirror came into Iran from Europe, especially from Venice, and some part of the mirrors broke off when moving. Iranian artists found an innovative way to take advantage of broken pieces and used them for mirroring and decoration mirrors, and mirroring apparently began with their application. The decoration mirrors began at the beginning with the installation of cupboards that their bodies were completely made by mirrors. Not only inside the building, but also the columned walls of the Safavid era were decorated with large mirrors. Girih tiles are referred to art as a piece of wood cutters and colored glass in a variety of geometric , uniform and unifying shapes that are matched together in a distinct and repeating frame. In fact, the geometry of motifs and knitting is an inseparable part of this art. In the artistic term, the Girih tiles are a collection of geometric shapes that are arranged together in a harmonious manner in order and arrangement. In another definition , The Girih tile is a harmonious combination of complex ,rational and attractive geometric shapes that are formed using right lines.