The present project is a building, with an area of 210 m2, which dates back to 50 years ago and is located in Chaharbagh-e Khajou. The structure of this building is duplex with two floors of which the ground floor is renovated.

An enlightened and resourceful employer initiated this project whose support paved the way for reaching an agreement and mutual understanding between the employer and the designer.

Having the stairs at the central core of the plan and its form plus the location of the project, which is next to the Khajou bridge resulted in the idea of creating the arch forms in the structure. In designing and proportions, the principles of the spatial division were defined as follows:

A. To separate different spaces, the arch form was used with minimum changes on its span so that all ratios together with the size of the previous span and the height and width ratios are preserved.

B. On the other hand, with respect to the obtained geometry, the arch form is used in the parts where there is an arcade, and when we move from one sequence into another.

Using simple and minimal forms plus less color and texture helps the audience pay more attention to the artwork displayed in the gallery. In fact, the purity of the space makes it easier for the visitor to have a better understanding of the artwork.

The reason for making the least changes in the project of Soo Gallery renovation is that the property is on leasehold and the budget was limited, all leading to numerous challenges in this design. The solution to this problem was to design according to cavity-walls architecture. Adding cavity walls helped us prevent demolishing the structure for making changes. In this method, a different form was created at the lowest price.

We can see an order in the historical spaces of Isfahan, which have formed diversity and harmony at the same time. Forms, proportions, scale, contrast, emphasis, and combination of colors have created a unity in the environment, making the space so special, with an original identity, all leading to good interaction between human and the space.

The location of the project, i.e. Isfahan, resulted in using factors of the historical building architecture in designing this project: Parallel sequencing, multi-tier architecture, repetition and rhythm, geometry, golden ratio, module and interpretation of dimensions.

Introversion is one of the crucial elements of buildings in Isfahan. In this project, a unique and introverted space was created, differentiating the inside from the outside with an abstract contrast and creating a feeling of curiosity and tendency to stay in this space. In fact, the combination of the renovated space with the old spaces of the building results in this contrast.

Considering the above-mentioned approaches, first, the limitations of the project and then, the ideas for solving these problems will be discussed hereinbelow.

Limitations

1. Time constraint in designing and execution of the project, 2. Making the least changes possible, and 3. Financial constraint.

Ideas

- Practical changes on the basis of the employer’s needs and the intended usage of the building, transforming it into an art gallery,

- Using low-cost construction materials with high execution speed (creating cavity walls, using Knauf),

- Creativity in openings, forms, visual variations, and different views and perspectives,

- Spatial clarity and fluidity, and defining the entrance and final spaces,

- Creativity in changeability and flexibility in designing window openings,

- Rotation and space definition through creating passage circulation,

- Using a minimal design and preserving the main elements in an abstract method in accordance with the phrase “less is more” (have more job done with less equipment), space + form + quality,

- The floor of the whole building is unified and made of the same material to show the purity of the form and spatial circulation.