In this project, a cuboid is deformed in plan, section, form, and space, as a result of internal events as well as the strengths and weaknesses of the site, or the context it is located in. Additionally, “stretching outward” and exiting orthogonal logic have a significant impact on different parts of the building, such as the ceiling, the main façade, and the section.
The volume deformation process enhances various positive spatial aspects and noticeably improves their quality; however, the initial purpose of this approach was to obtain maximum view range for the project. To gain visual dominance over the high perimeter wall or the adjoining neighbor who seemed influential and notable due to the considerable natural topographic differences of the site.
The rule-breaker edge of the original cuboid creates an outdoor double-height terrace next to the living room area and simultaneously increases the interior height of the public space of the villa, which promotes spatial values. Meanwhile, it extends itself in the plan, facing toward the landscape and the sight.
The project endeavors to distance itself from generic definitions of the wall by benefiting from the cutting technique or changing the height proportions in the eastern façade adjacent to the street. This method not only provides privacy for users while accessing but also leads the project form to a sculptural nature. Moreover, the ridge -as an inevitable functional element on the roof- was combined with the overall form language of the building. Therefore, it makes the project skyline free from a uniform rhythm.
At the end of the design process, as we were studying the final form, we recognized a hybrid of smoothness, curvature, thickness, and thinness. It seemed to us that subconsciously it resembled calligraphy. Thus, we accordingly named the project. The stretching extremity of the letter in calligraphy is called “Shemreh” and this method of drawing is called “Tashmir”.
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