小巷之家的设计是针对伊朗文化和生活方式的两个固有方面而发展起来的。
一方面，历史上保守的社会结构策划了一种内敛的建筑，使外人甚至无法窥视他人的家。但另一方面，20世纪70年代开始的快速城市化导致了匆忙开发的住房模式，几乎没有将伊朗的文化偏好融入其建筑中。相反，伊朗的住房类型遵循公寓楼的通用标准，有大的、朝南的窗户和最大的占地面积，以确保房地产利润。因此，我们在全国所有城市看到的都是密密麻麻的扁平建筑，窗户很大，用厚厚的窗帘遮挡。

The Alley House design grew in response to two intrinsic aspects of Iranian culture and way of life.
On the one hand, historically conservative social structures have curated an introverted architecture preventing outsiders from even a glimpse into another’s home. But on the other hand, the rapid urbanization which started in the 1970s has resulted in hastily developed housing paradigms, with little integration of Iranian cultural preferences within their architecture. Instead, housing typologies in Iran followed generic standards for apartment buildings, with large, south-facing windows and a maximized footprint to ensure a real estate profit. As a result, what we see across all cities throughout the country are densely packed, flat buildings with large windows, covered in heavy drapes.

为了应对这种困境，”小巷之家 “的设计提供了一个建议，即保持以文化为基础的建筑的必要内敛性，同时创造与外部环境的联系，这些联系是每个空间和它们内部所容纳的活动所特有的。

In response to this predicament, the design of the Alley House offers a proposal that maintains the necessary introversion of a culture-based architecture while creating connections to the outside environment which are unique to each space and the activities they house from within.

为了做到这一点，建筑师们创造了一个框架系统。这些框架不是直接面对街道，而是旋转着面对相邻公寓楼的侧面。然后，这些框架交错在一起，通过露台提供间接照明，这些露台通过与环境的联系，框住了风景或支持一种特殊的体验。

To do this, the architects created a system of frames. Rather than facing directly onto the street, these frames are instead rotated to face the sides of adjacent apartment buildings. The frames are then staggered on top of each other to provide indirect lighting via terraces which frame views or support a particular experience through their connection to the environment.

巷子里的房子 “这个标题既有功能也有概念上的渊源。从功能上讲，这个标题来自于建筑师在设计过程早期做出的决定，即通过项目底层的一条小巷连接两条平行的街道。为了支持公寓楼内部的小巷美学，我们使用了城市和工业材料，如火烧花岗岩石材和穿孔金属板。该通道在白天允许公众进入。允许公众通过私人财产进入是一种独特的便利，因为业主通常倾向于安全和隐私，而不是为邻居提供方便。

The title ‘The Alley House’ has both functional and conceptual origins. Functionally, the title was derived from a decision the architects took early in the design process to connect two parallel streets via an alleyway on the ground floor of the project. To support the aesthetic of an alley within the interior of an apartment building, urban and industrial materials such as flamed granite stone and perforated metal panels were used. The throughway allows public access during the day. Allowing public access through private property is a unique amenity as property owners often favor security and privacy over providing ease of access to neighbors.

但这个标题也是概念上的衍生。小巷原型的概念在伊朗文化中根深蒂固。巷子被理解为一条狭窄的街道，两边是果树和核桃树，从底层被抬高到上层由旋转框架形成的狭长露台。为了让间接光线照射到室内空间，同时确保居民的隐私，需要从相邻的墙壁上移开，形成一条狭窄的 “小巷”，然后用盆栽树木和鲜花衬托，以重现波斯传统城市设计中小巷原型的美感。

But the title was also conceptually derived. The concept of an alley archetype is deeply rooted in Iranian culture. The alleyway, which is understood to be a narrow street flanked with fruit and walnut trees, was elevated from the ground floor to the long narrow terraces created in the upper levels from the rotated frames. The offset from adjacent walls that was needed to allow indirect light to wash the interior spaces while ensuring privacy for the inhabitants creates a narrow ‘alley’ which was then lined with potted trees and flowers to recreate the aesthetic of the alleyway archetype in traditional Persian urban design.

该建筑包括两套公寓。室内设计包括楼层之间的空隙，这些空隙用栅栏覆盖，使各层之间有视觉上的联系，同时允许在这个26 x 55英尺的小地块上使用楼层面积。其结果是为家庭提供了动态的内部空间连接，以及与每个内部空间相邻的外部的独特连接。

The building encompasses two apartments. The interior design includes void spaces between floors which are covered with grating to allow visual connections between levels while allowing the floor area to be used on this tiny 26 x 55 ft plot. The result is dynamic internal connections between spaces for the families and unique connections to the outside adjacent to each interior space.

该项目所使用的材料被选择为天然的、具有生态意识的，并且是当地环境所特有的。库姆是一个干旱的城市，砖是传统建筑的主要材料。然而，几十年来，石材在库姆的建筑中取代了当地的砖，因为开发商和买家都认为石材外墙更豪华、更昂贵。建筑师们优先考虑使用当地采购的环保材料，这促使他们探索砖的铺设模式，使外墙具有标志性和独特性，并将自己从老式或一般的乡土结构中分离出来。

Materials used in the project were selected to be natural, ecologically aware, and indigenous to the local environment. Qom is an arid city, with brick being the primary building material in traditional architecture. However, for decades stone has replaced locally-sourced brick in Qom’s architecture, as developers and buyers alike view stone facades to be more luxurious and expensive. The architects’ priority to use locally sourced and environmentally conscious materials led them to explore brick-laying patterns for a façade that is both iconic and unique, and which separates itself from the construct of being old-school or generically vernacular.

在这个项目中，建筑师们努力向伊朗文化和建筑的根源示好，同时以一种新颖和美观的方式使用传统和当地建筑材料。红砖外墙在它所处的城市环境中既低调又具有标志性，在要求关注的同时也掩盖了内部的活力。

In this project, the architects strived to gesture towards the roots of Iranian culture and architecture while using traditional and local construction materials in a novel and aesthetically pleasing manner. The red brick façade is both understated and iconic in the urban environment it rests in, demanding attention while concealing the vivacity within.

Architects: Marziah Zad, Mohsen Marizad, Raha Ashrafi
Area: 400 m²
Year: 2020
Photographs: Negar Sedighi
Manufacturers: Asa Grating, Avandad, Sirang Brick, Tabriz Ceramic
Lead Architects: Marziah Zad, Raha Ashrafi, Mohsen Marizad
Project Architects:Asal Alizadeh, Negar Hosseini
Construction Documentation:Asal Alizadeh, Negar Hosseini
Graphic Communication:Avin Hashemi
Drawings And Design Communication:Nava Kholoosi
Construction Administration :Mr. Pour Meydani
Electrical Engineering:Mr. Ahmad Mohammadi
Mechanical Engineering:Mohamad Aliari
City:Qom
Country:Iran