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SADAF Residential Apartment
SADAF Residential Apartment
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Other Projects by PRAGMATICA ARCHITECTURAL DESIGN STUDIO
SADAF Residential Apartment
Type
STATUS
Concept
SIZE
3000 sqft - 5000 sqft
BUDGET
Unknown
SADAF Residential Apartment
The constraints imposed by building regulations in Tehran, along with the market’s prevailing inclination toward “generic” developments, have significantly shaped the current urban fabric. In such a context, the opportunity for creative intervention in shaping contemporary living spaces becomes increasingly limited.
This project aimed to transcend the conventional dichotomy of plan and elevation design, approaching them as interdependent and continuous elements. Through this integrative lens, we sought to uncover a path by which the architectural form could emerge as a coherent whole.
To break free from the dominant clichés, the design process was oriented toward creating a dynamic structure capable of generating novel spatial experiences. Here, the aesthetic dimension of architecture was not treated as an accumulation of decorative elements, but rather as the outcome of a deeper conceptual process.
The core design idea was conceived as a “play” — a strategic manipulation of spatial configurations. By maintaining the infrastructural core — including the structural system, vertical circulation, and service shafts — as fixed elements, various layout typologies were generated simply through the repositioning of internal walls between units. Additionally, spatial variation was further enriched by alternating the positions of private (bedrooms) and public (living areas) spaces between the northern and southern sides. This resulted in a matrix of unit types with varying sizes and characteristics.
Subsequently, configurations were refined by incorporating contextual variables such as height above street level, the density or tranquility of the adjacent northern and southern alleys, potential views, orientation of bedrooms (north- or south-facing), and their effect on the building’s façade. These factors produced a range of viable options from which users could select according to their needs and preferences.
This internal diversity manifested externally through a dynamic yet cohesive composition. Balconies, designed as voids within the volume and equipped with planters, contributed both to interior spatial quality and the vibrancy of the building’s exterior. Their vertical displacement further reinforced this sense of movement.
Ultimately, the building is perceived as a singular, three-dimensional architectural entity — not a mere aggregation of two-dimensional elevations stitched together with superficial projections and recesses in an attempt to “design a façade.” It stands as a unified form, shaped by a holistic spatial logic.
Adopting this approach resulted in a facade that is not just a definitive boundary separating the interior from the exterior or even a visual composition, but rather an intermediary space that facilitates the gradual transition from the interior to the exterior. This redefined the relationship between the residential space and the city through the urban facade.
The constraints imposed by building regulations in Tehran, along with the market’s prevailing inclination toward “generic” developments, have significantly shaped the current urban fabric. In such a context, the opportunity for creative intervention in shaping contemporary living spaces becomes increasingly limited.
This project aimed to transcend the conventional dichotomy of plan and elevation design, approaching them as interdependent and continuous elements. Through this integrative lens, we sought to uncover a path by which the architectural form could emerge as a coherent whole.
To break free from the dominant clichés, the design process was oriented toward creating a dynamic structure capable of generating novel spatial experiences. Here, the aesthetic dimension of architecture was not treated as an accumulation of decorative elements, but rather as the outcome of a deeper conceptual process.
The core design idea was conceived as a “play” — a strategic manipulation of spatial configurations. By maintaining the infrastructural core — including the structural system, vertical circulation, and service shafts — as fixed elements, various layout typologies were generated simply through the repositioning of internal walls between units. Additionally, spatial variation was further enriched by alternating the positions of private (bedrooms) and public (living areas) spaces between the northern and southern sides. This resulted in a matrix of unit types with varying sizes and characteristics.
Subsequently, configurations were refined by incorporating contextual variables such as height above street level, the density or tranquility of the adjacent northern and southern alleys, potential views, orientation of bedrooms (north- or south-facing), and their effect on the building’s façade. These factors produced a range of viable options from which users could select according to their needs and preferences.
This internal diversity manifested externally through a dynamic yet cohesive composition. Balconies, designed as voids within the volume and equipped with planters, contributed both to interior spatial quality and the vibrancy of the building’s exterior. Their vertical displacement further reinforced this sense of movement.
Ultimately, the building is perceived as a singular, three-dimensional architectural entity — not a mere aggregation of two-dimensional elevations stitched together with superficial projections and recesses in an attempt to “design a façade.” It stands as a unified form, shaped by a holistic spatial logic.
Adopting this approach resulted in a facade that is not just a definitive boundary separating the interior from the exterior or even a visual composition, but rather an intermediary space that facilitates the gradual transition from the interior to the exterior. This redefined the relationship between the residential space and the city through the urban facade.
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