1. Marziyeh, the architect who helped us here at Rooydaad for three years, making our architectural endeavors brighter, sat before us one day, overwhelmed with fear and anxiety, and confessed that she no longer felt passionate about architecture and desired to focus solely on painting—a revelation that seemed incongruous given her professionalism and proficiency in her role. 

   We encouraged her to weigh up her decision, considering its gravity. Ultimately, we agreed that she could transition to a part-time role at Rooydaad, allowing her to pursue her newfound passion for painting alongside her architectural duties.

2. A year later, Marziyeh returned, her resolve unwavering, to announce that she was unequivocally committed to painting and no longer found fulfillment in architecture. This time, we couldn't help but share her anxiety as we contemplated the uncertainty of the future.

3. Two years later, Marziyeh returned once more, but this time as a client, seeking our expertise in designing her gallery—a role reversal that underscored the transformative nature of her journey.

4. If you have ever witnessed Marziyeh's meticulous approach to her craft or read Jostein Gaarder’s "The Orange Girl," particularly Jan Olav’s descriptions of Veronika's meticulous selection of oranges, you would understand why we named Marziyeh’s gallery "The Orange Gallery."

5. The location for The Orange Gallery was a modest shop, just over ten square meters in size, situated on the sixth floor of a shopping center. Despite its diminutive size, The Orange Girl had grand visions for the space—to serve as both a studio for her own work and a classroom for her students, all while showcasing her paintings and housing her artistic supplies.

   Our design challenge was to maximize the functionality of the space, incorporating elements such as a flexible classroom that could be easily transformed for exhibitions and ample storage for Marziyeh's tools and materials.

6. The main concept was creating a maximal but simple mechanism in a 10 m² space, in a way that all the parts of this tiny space can have functional characteristics that can easily transform from an art gallery to an art class.

We modified the geometry of the space to create the white cube. Then we put the orange inside the cube: its color on the floor, its plan on the ceiling, and its energy in the rotating table.  And a ladder that provided access to upper spaces.

With the aim of reviving forgotten crafts, we asked a wood turner to install 1500 pins all over the cube’s walls using recycled wood wastes so that the paintings can be fixed on the walls wherever one wishes.

7. When Marziyeh returned to review our design concepts, she listened attentively, her expression betraying a mix of apprehension and anticipation. After some deliberation, she entrusted us with bringing her vision to life.

   "The Orange Gallery" stands as a testament to Marziyeh's faith in her former colleagues and our shared commitment to realizing her artistic aspirations