Central Square Monument

Approach to the Context

The resultant of the observer’s view perspectives from the routes leading to the square was initially employed in the context analysis as a guide to the approximate location of the project, and then the different layers were assessed as follows:

1- Horizontal organization and linear nature of the project as an alternative to the conventional vertical organization and point nature of monuments: Among the items, which cause visual differences between this square and other squares that primarily have radial organization, is its linear formation. The turning point of view in the radial organization is the center of the square. Thus, the elements designed for these squares principally are representative of a “point” in the plan and are typically shaped with a vertical structure. Because they are merely one point, they will rely on momentary perception so that the general structure of the work of art is understood at the moment of seeing it, and no new thing to show is generally available in the continuation of the horizontal movement of the observer and change of angle of view. Without taking into account that such quality does not appear to be proper for the city’s central square, which is a place of gathering and continuous attendance of the audience, the linear organization of the square also provides the ground for the creation of a novel and deeper quality. Therefore, the horizontal organization of the monument not only matches the square geometry itself but also leads to the emergence of ongoing variations in perspectives and different semantic aspects of the work during the passing of the audience and will be an encouraging factor for the deeper view of the audience. Thus, a symbolic element may offer a variety of meanings and qualities from each point of view.

2- Negative Space: Given that the lack of intervention in designing the landscape of the middle island of the square (The major part of it is occupied by pools and fountains) has limited the contact surface of the monument with the ground to its narrow edges, this issue is nearly evaluated in disagreement to the expected scale of the project. Hence, the strategy for the creation of a maximum negative space by the minimization of the mass turns this technical limitation into an opportunity for benefiting from its semantic potential.

3- Unity in Multiplicity (minimalism in form and multiplicity (plurality) of meanings in content): With respect to the changes in the view of the observer, which was previously pointed out, the project can disclose its different meanings from various angles and attain an ambiguous quality, while being integrated and lacking multiple extensions. In addition to the content of the project, the establishment of a relation with the clock tower (as a historical and original symbol of the city) that is placed in the back of the context of the square is a potential quality, which may generate a deeper link between the contemporary identity of the project and its historical context and prepare the ground for more earnest preservative approaches to this historical symbol.

4- The manifestation of two different scales of the project with regard to the position of the observer’s view: The walls surrounding the square have a medium height, and the area of the square in the traversal section is relatively small in relation to the urban center of the site core zone. So, designing the high-rise element with such an area is not so fitted. Hence, developing the scale of the monument not in height but in length dimension will be compatible with its context, in addition to the coordination with the scale of the square in terms of height. Thus, the project is perceived from the north and south views as a point with a small scale, and it reveals its large scale in its linear organization from the east-west views (longitudinal section); however, the element’s height is restricted to only approximately 6 meters, which is nearly equal to the shortest sections of the square wall.

5- Semantics on the basis of deep-rooted symbols without conveying personal perspectives: As the recreation of the identity of the past in an updated form is different from new identity building, so one should be more prudent concerning such contexts in the reflection of the semantic aspect of the work. Applying any personal point of view of the designer could be associated with collective rejection. Thus, it was attempted cultural symbols, which have deep roots in the history of Iran and the indigenous culture of the city, to be exploited in an abstract body. Knowing that such an approach to the application of cultural symbols in the form of architecture will guarantee its richness and stability in the context according to its historical and cultural history, even if it is not perceived by the general audience in a direct form. Essentially, the enhancement in the complexity of the content while enjoying a simple and legible form will be associated with concentrating on the spiritual dimension of the work relative to its material dimension.