Termeh Office Commercial Building, Hamedan, Iran, by Farshad Mehdizadeh Architects and Ahmad Bathaei

SHARE THIS

Note: The content below has been curated from publicly available resources.

Termeh Office Commercial Building, Hamedan, Iran, by Farshad Mehdizadeh Architects and Ahmad Bathaei. © Parham Taghioff (5) — © Parham Taghioff

This project—Termeh Office Commercial Building—is located in Hamedan, one of Iranian historical cities. Hamedan has active urban space, which is characterized by squares and an important north-south urban axis that connects them together. This axis crosses the site from the western side.

The brief was to design a two-story building with commercial functions: a retail store on the ground floor and a private office on the first floor. The second floor (roof) should follow its neighbour’s height, in terms of the urban skyline, through a 2.5-meter-high wall. So, this project encompasses three different characters in three levels with different communication with urban space.

Since this project has different addressees for each function, the idea was connecting the functions separately and directly to the urban space. Furthermore, we need to find a vertical access solution. The separator between the functions (retail and office) recognized as the most critical part of this project to implicate as an architecture element to generate the form. That separator was the slab, which characterized from one side as an office floor and from the other side as a retail ceiling. The retail ceiling slab bended and became habitable as stairs to connect the office directly to the walkway in front.

The roof was devoted to the office as a roof garden for business ceremonies and outdoor parties. The façade is a continuous covering system made of local bricks that are patterned with local and traditional brick layering techniques, in order to match with the context.

Gallery:

Termeh Office Commercial Building, Hamedan, Iran, by Farshad Mehdizadeh Architects and Ahmad Bathaei. Courtesy of Farshad Mehdizadeh and Ahmad Bathaei (8) — Courtesy of Farshad Mehdizadeh and Ahmad Bathaei

Drawings:

Termeh Office Commercial Building, Hamedan, Iran, by Farshad Mehdizadeh Architects and Ahmad Bathaei 13 — Termeh Office Commercial Building. © Farshad Mehdizadeh Architects and Ahmad Bathaei.

Termeh Office Commercial Building, Hamedan, Iran, by Farshad Mehdizadeh Architects and Ahmad Bathaei 15 — Termeh Office Commercial Building. © Farshad Mehdizadeh Architects and Ahmad Bathaei.

Project Details:

Name: Termeh Office Commercial Building,
Location: Hamedan, Iran
Status: Built (2015)
Typology: Office
Area: 600 sq. m.
Designed by: Farshad Mehdizadeh Architects and Ahmad Bathaei
Civil Engineer: Hooman Farokhi
Description: Farshad Mehdizadeh Architects and Ahmad Bathaei
Photographs: Parham Taghioff, Courtesy of Farshad Mehdizadeh and Ahmad Bathaei

Tagged Under - Architects in Iran, Architects in South Asia, Completed, Iran, Office, Office building, Project Curation, South Asia, South Asian Architecture

Follow us on WhatsAPP

CURATED BY

Geethu Gangadhar

Profile and Contributions

More Featured Works

Court Fort, Nandoli, Gujarat, by Compartment S4

Court Fort in Nandoli is imagined foremost as a home, an everyday retreat on the outskirts of Ahmedabad, Gujarat, where

Rice Museum, Mandya, by RC Architects. © Sagar

Rice Museum, Mandya, Karnataka, by RC Architects

Nestled amidst the verdant landscapes of Mandya, the Rice Museum emerges as a profound tribute to one of humanity’s most

Sangam Canteen, Alkesh Gangwal & Associates. © Vivek Eadara

Sangam, Pune, Maharashtra, by Alkesh Gangwal & Associates

Sangam is a 3,300 sq. ft. canteen near Pune, Maharashtra, designed by Alkesh Gangwal & Associates, blending recycled materials and innovative design to create a flexible, light-filled respite within an industrial landscape.

A Modernist’s Doubt: Symbolism and the Late Career Turn

Why did acclaimed modernist architects suddenly introduce historical symbolism like arches, decorative elements, and other cultural references into their work after decades of disciplined restraint? Sudipto Ghosh interrogates this 1980s-90s symbolic turn as a rupture in architecture, questioning whether this represents an authentic reconnection with content and memory, or is it a mere superficial gesture towards absent meanings. Drawing from Heidegger’s analysis of the Greek temple, he distinguishes two modes of architectural representation, ultimately judging that this turn was a nascent rebellion against modernism that may have failed to achieve genuine integration of context, material, and memory.

Ode to Pune - A Vision. © Narendra Dengle - 1

The City That Could Be: An Ode to Pune

Narendra Dengle, through his poem written in January 2006, presents a deep utopic vision for Pune—what the city could be as an ecologically sustainable, equitable city that balances nature with development. He sets ambitious benchmarks for prioritizing public transport over cars, preserving heritage, addressing slum rehabilitation humanely, and empowering local communities

(left) Turtle Poem 1999 & Calligraphy 2006, by H. Masud Taj. © H. Masud Taj. (right) Photograph of Hassan Fathy 1976, © Martin Lyons

“Hassan Fathy’s head was in the heavens, heart in the right place, and feet planted firmly on earth.”—H. Masud Taj on his Turtle poem & Hassan Fathy

H. Masud Taj elucidates how, as a young architecture student, he dropped out of his institution to travel and learn from monuments, discovering in Gaudí’s Sagrada Familia a turtle column that catalyzed an inquiry, hearing Hassan Fathy’s explication of the turtle in Cairo, ultimately crystallizing in Taj’s poetic meditation on dwelling.