“MUSEUM OF NOTHINGNESS” PAVILION

Panzdah-e Khordad Street, tehran, Iran

PerSonal Project

This project aims to establish a horizontal relationship among three distinct approaches to architecture, which are explained in the upcoming pages, without giving priority to any particular one. By simultaneously incorporating these approaches, a unique and unified outcome is achieved.

° Image:

In academia, diagrams and logical processes take precedence in evaluating and creating architecture, often overshadowing the architect’s unconscious imagery. Nevertheless, these images carry immense significance as they reveal the author’s individuality. In this project, these images play a vital role in shaping the voids, infusing the design with depth and distinctiveness. These voids serve as the central concept of the pavilion, representing a unique “nothingness,” a space that is both empty and extraordinary.

° Form:

The production of form in this pavilion is derived from the transformation of a renowned traditional Tasnif (Morq-e Sahar) into architecture. This transition involves translating the timings of notes into distances and rendering their frequencies as colors. Through this creative process, the form of the pavilion emerges, bridging the realms of music and architecture.

° Program:

The programs in this project tread the line between utopia and dystopia. Ideally, it offers a space for the homeless and street peddlers, potentially revitalizing the area. However, considering the challenges, including addiction, the project may face obstacles in achieving its envisioned outcomes, shedding light on the harsh realities of poverty.