Interviews with Davood Boroojeni

Things such as the desired spatial quality, local architecture, climate, and exposed usage of materials have been considered in this design. We believe that the beautiful, innovative, and useful architecture of this architecture is the result of using the above mentioned simultaneously.

In architectural projects, construction of the plan and its exploitation is the end of its designing path, which happened in this project. Controlling and monitoring how this plan responds to its users’ needs; and examining its potential shortcomings will help to develop and improve other plans.

The design time of this work is divided into two parts. The first stage is the time it takes for drawing the design on paper and it took 6 months for this project. The second stage begins when the project has started to construct and ends when it is completed. Wherever it needs will constantly update and its faults correct.

The choice of design idea has been formed from the study of shortcomings of similar uses in Iran. The most important challenge in designing industrial uses, given the wide range of their employees from simple workers to laboratory specialists, is the proper separation of different work spaces and implementing hierarchical access. Our studies have shown that lack of proper placement in different uses relative to each other has reduced significantly the efficiency of production, and requires more energy and manpower to compensate for it. For this purpose, instead of a wall, we used space to separate different parts. The middle courtyard’s prediction helped to separate various parts of the factory properly, including the administrative, the laboratory and the production areas.

This design was implemented by order of Shamim Polymer Co. and the company is currently operating it.

The special design of this project is the result of examining the shortcomings of today's Iranian architecture, studying modern world architecture information and researching ancient Iranian architecture. In this way, in addition to meeting the functional needs of users, this design is in line with today's world standards and has also revitalized local architectural patterns.

The design of this project is not inspired by another design or designer. However, architectural works such as Alvar Aalto, Luis Kahn, Tadao Ando & Alvaro Siza have always been respected by the project designer.

The main audience of this project is Shamim Polymer Co. and its employees in the factory. Based on the type of project use, the owners of industries and companies that need industrial and factory use to produce their products are also the secondary audience of this project.

Predicting Iranian architectural patterns such as perpendicular axes and the middle courtyard to organize different areas of the factory on the one hand and the use of exposed materials, on the other hand, has distinguished this project from similar works.

The name of this project is taken from the title of its client.

The process of designing this project has been done simultaneously with etudes on the paper and computer 3D modelling. There is no hierarchy for the design process; the quality of design on paper and computer software has been constantly monitored and completed.

The middle courtyard, 8-meter console for the office section and its protrusion in the middle courtyard and exposed use of construction materials are the most unique designing features of this work.

A group of 10 people, including various experts with architectural design skills, presentation skills, structural design, mechanical design, electrical design, and execution have involved in designing and constructing this project.

There is no specific option for the title here, but implementing the design, which is initially created on paper, is not possible without the support of different construction technologies.

Some research has been done on two main issues to design this work. The first issue was the detailed, accurate study of similar samples in Iran and the analysis of shortcomings of industrial uses in Iran. Here shortcomings are not necessarily mean functional deficiencies, but more importantly, their lack of spatial qualities. The second issue was a historical study of indigenous architecture. The results of this section led to the use of two important patterns of indigenous architecture, including the middle courtyard and perpendicular axes in this design.

The most important challenge in designing industrial uses, given the wide range of their employees from simple workers to laboratory specialists, is the proper separation of different work spaces and implementing hierarchical access. Our studies have shown that lack of proper placement in different uses relative to each other has reduced significantly the efficiency of production, and requires more energy and manpower to compensate for it. For this purpose, instead of a wall, we used space to separate different parts. The middle courtyard’s prediction helped to separate various parts of the factory properly, including the administrative, the laboratory and the production areas. Other challenge was the possibility of leaving this middle courtyard abandoned. To meet this challenge, we increased the spatial quality of the middle courtyard by observing human dimensions, considering open air for it, predicting the light and shadow play, green space and color.
In Iran, there have been specific patterns for organizing building plans from the past. The middle courtyard and the perpendicular axes are two important patterns in Iranian architecture. These two patterns are still used today in design of buildings with residential, administrative, multi-purpose, parks, etc., but their traces are disappeared in today's industrial architecture of Iran. There are documents indicated that these two patterns were used about 400 years ago and in the historical era of Safavid in the industrial uses’ design. The factories of that eras, called BIOTAT, had two axes perpendicular to each other and have a courtyard in the middle. It is believed that the prediction of these two patterns in the architectural design of Shamim Polymer factory is an attempt to revitalize these two Iranian architectural methods in industrial uses.
The context of design has consisted of cold winters with strong western winds and hot summers. Reducing energy consumption through architectural solutions has been a main concern during design of the factory. For this purpose, we have used materials with low heat transfer coefficient for the walls. The chosen color for the outer shells was white with the aim of minimizing absorption of solar radiation in summer. Spaces such as warehouses are located on the western wall and act as heat filters in summer and winter. Our other solution for this purpose is the green roof of the administrative part of the factory. In December, we have checked the outside air temperature and the administrative area daily. The lowest temperature of the outside area for this month is minus 8 degrees, while the lowest temperature of the inside area without use of heating devices has been recorded at 12 degrees Celsius.
One of our primary goals of design was to expose materials. We believe that the uses of exposed materials not only creates an industrial feel in the spaces, also makes less harm to the environment. Structures are made of steel, floors are made of concrete, walls are made of prefabricated concrete blocks, glass, prefabricated concrete panels, and stairs are made of in-site concrete without any other materials being added.

Today there is no border between different countries in the field of architecture. Submitting this design into the International A' Design Competition represents and introduces Iranian architecture, and thus the works of my country's architects will be more considered over time.

Dealing with various challenges between design and execution, and also a more accurate understanding of what is created first on paper and gradually is becoming into a space are important factors in improving the designer.

Creating an architectural work requires the cooperation of three vertices of a triangle. The three include the project architect, the employer, and the project execution team. It is believed that without the support of the employer and the project execution team, it would not have been possible to create such a unique and extraordinary design.

Davood Boroojeni Office is a partnership established in 2006 to engage in architectural, interior and landscape design along with relevant research and studies. It has since grown into a practice in residential, cultural, office and mixed-use developments as well as construction site mobilization. It continues to produce elegant design solution that exceeds client's expectations. Recognized for its ability to work with efficiency and precision, Davood Boroojeni Office also identifies its architectural practices with a thorough understanding of the context, environment and construction technology.

Architecture is like a container for life. Just as a glass that is created to pour water into it, architecture is created for life.

Each project has its own challenges and this is exciting. I like projects that eventually are implemented and constructed. It is wonderful to see the moment when people settle into the project and start using it.

Among our office’s designs, I like 3 designs of Gilbam house, Shamim Polymer factory and Kia Lab more than the others. In these three designs, the context has paid more attention.

Gilbam house, located on a hill in northern of Iran, has a 360-degree view of the surrounding mountains and forests. The place has an extraordinary atmosphere. In this design, we tried to bring this atmosphere into the house through different walls. The design has not been made yet.

Shamim Polymer Factory which won the Silver Award of A'DESIGN, was also a challenging project for us. In this project, we focused on the quality of shared areas. Our main goal in the project was to create coexistence areas. For this purpose, and based on the pattern of local architecture, a courtyard has been forecast in the middle of the building, which is a gathering place for the factory employees.

Kia Lab is located in a small town. The land of the project has a dense texture. In this project, we have tried to direct any passages around the project into the building and thus turn the building into a regional center. This project is under construction.

The first project of our office was designing an entertainment garden in the south of Tehran. The project land was about 190,000 square meters. This project had been constructed several years after I had presented my master's thesis on the subject of mapping the Safavids Dolatkhaneh in Isfahan. The thesis was significantly influenced by the architecture of Iranian Dolatkhaneh and the garden. The main structure of the aforementioned project has also been greatly affected by the architecture of Dolatkhaneh.

Different materials are using in this industry, but for me the important factor to choose and use materials, is purity. That is why I work with exposed concrete more than other materials.

I am more creative when I fantasize. Because of living in the eastern hemisphere of the earth, daydreaming has become one of my senses like hearing and sight. This often happens early in the morning.

The various aspects of design in an architectural design are like pieces of a puzzle. When one piece of the puzzle is lost or put in the wrong place, then the puzzle cannot be solved. Therefore, all aspects are very important in the design process and none of them is more important than the other.

At the time of designing, the time has lost its meaning. You start working in the morning and a few moments later when you raise your head it is night. The only thing that has the same trait is “love”.

It is an exciting time when a design is realized, whether it is on paper or made. You feel most satisfied with yourself. Truly it is a glorious and unique moment.

An architectural design should give appropriate responds to different parameters. These parameters cover a wide variety of needs, wants, and limitations. The success of an architectural design depends on responding to all parameters simultaneously.

Paying attention to spatial qualities, responding appropriately to functional needs, and providing proper solutions for construction are the most important aspects in the process of judging a design.

Since architecture involves social and environmental relations, the architect has played an important role in creating balance and stability. With regards to the architect’s responsibility in society, I believe that its duty is to recognize the negative emotions of that society and provide an architectural solution to improve it. For example, if a community is angry for a variety of reasons, it is the architect's responsibility to design conditions to release the excitement and to consider the potential of positive emotion substitution in its design. In the case of the environment, as soon as a building is constructed somewhere, the primary damage is made to the environment. I believe that the most important role of the architect is to carefully study the climatic conditions and provide solutions that are compatible with the climate for architecture. In this way, it can be hoped that the least damage has been made to the environment.

I believe that the two terms should be separated from each other. The first is the quality of presenting design and the second is the quality of design. The quality of presenting design depends on the skill and practice of the designer and technical and technological advances. Thus, the term of “evolving” can be used for this case because both skill-practice and technique-technology factors are depending time. The main question is: Does the development of tools for presenting design increase the quality of the design presentation, does necessarily lead to an increase in design quality? I think definitely not.
The quality of design comes from the quality of imagination, and imagination is not a phenomenon that depends on time, and because it is not limited to time, the use of the word “evolving” is totally incorrect for it. That is why cave walls' paintings about 10,000 years ago are still the highest quality works of human art.

The exhibition of the architect's works are showing its architectures. Thus, the last exhibition is Shamim Polymer Factory and the next exhibition will be Kia Laboratory.

I think all ideas and inspirations are formed from the context of design. So that how each design is created depends on its location. The architect receives signals from the project context through its five senses plus heart intuition. Therefore, the receivers should be strong enough to receive the correct signals.

If it is believed that source of inspiration for any design comes from the context of that design, it must be accepted that style of each design will be different from the other. Because the spirit of location in each project will changes. I do not have a specific style for my design and I do not follow a specific style.

I live in Iran. The people of my country feel better when they walk in the old location or visit an old building. This is the spirit of a location that makes the audience feel good. Also considering the architect’s social mission, it is necessary to know the cultural heritage and up-to-date use of its architectural patterns. The use of old architectural patterns as one of the design parameters of today; always carries the risk that the architect does not consider the spirit of the time in its design and is fascinated by the old architecture, so he/she will only copy the design.

We work with different companies through project collaboration, whether they are partner companies or employer companies.

The best way to choose a designer for companies is to review the designer's resume and portfolio. In this way, opinions come closer to each other and the company gets acquainted with the designer's intellectual method.

The process of designing an architectural project in our office is as follows:

-Initial meeting with employer and preparing a checklist of its needs;
-Visit the site and prepare a checklist of the project context;
-Analyze the employer's demands through different diagrams, with considering conditions required by the project context;
-Provide different options for designing based on the diagrams;
-Meeting with the employer and then presenting concepts and explaining strengths and weaknesses of each option, and choosing the most appropriate option;
-Develop the selected option and prepare additional options based on the approved concept;
-Meeting with the employer and then presenting the developed options and explaining the strengths and weaknesses of each option and choosing the most appropriate option;
-Preparing technical documents of the first stage, including plans, sections, views, site plan, and three-dimensional images;
-Deciding on materials and design details;
-Preparing technical documents for implementation.

Concrete stairs, skylights, wade, suspended terrace, internal bridge

I believe that seeing accurately and being sensitive to our surrounding objects has the greatest impact on the possibility of creating a design with high quality. Any detail, even the smallest thing, should be considered in the design process. An incorrect detail may destruct the concept of the design and architecture.

In my opinion, the most important advantage of being a designer is that you do not feel the passage of time because of what you do.

Any part of the design that you do not feel good about is definitely imperfect in some way.

I don't think skills are important for being a good designer. Strengthening the five senses and at the same time acquiring a proper heart intuition about a design, is more important than anything else.

The most important tool is paper and pen. Of course, it is also important that you can constantly control the quality of spaces in 3D software such as Rhino and SketchUp.

For this purpose, I have set specific hours during the day to start and end the design. I start designing almost every morning at a certain time and I close the design at a certain time every evening. When it closes, I will not think about design until tomorrow.

Architectural design time depends on the scope and complexity of a project. The minimum design time is about 3 months and the maximum is about 1 year.

The most common question is how did you come up with such a design? Where did the main idea of the design come from?

The most important job experience has been the design and construction of Shamim Polymer factory. This is the design that won Silver Award of A'DESIGN.

As we do a wide variety of architectural designs, our employers are also a wide range from individuals to large companies.

Designs that their initial plan is to be constructed are more enjoyable. Constructing a design is more exciting.

I am seriously studying the impact of shared middle areas in architecture, and I am pursuing this impact on people's social relationships and their level of dependence on these shared middle areas. This idea is also being pursued in the design of Kia Laboratory, which is a new project.

I usually prefer teamwork to develop designs.

Now I am designing and implementing Kia Lab. This project has 5 floors, the second floor is considered as a shared middle area. People enter the building from the surrounding streets and alleys without having to enter into the building and reach this floor by a staircase. This area has public use and I hope it will be used as the regional center after the work is completed.

People can contact me via email or Instagram.

the role of emptiness in contemporary architecture—especially within industrial environments that are typically defined by density and operational accumulation. In this project, the void is not merely a functional gap; it acts as a spatial mediator that enables both planned separation of programs and a fluid sense of continuity between different work units.In traditional Iranian architecture, the “middle space” (miyan-dar) is never an empty, meaningless zone—it is a space for pause, transition, and perceptual recalibration. This project draws critically from that conceptual heritage to propose an alternative to the often dehumanized nature of industrial environments, which tend to exclude lived experience in favor of pure efficiency.The void spaces in Shamim Factory establish soft and flexible thresholds between industrial, administrative, and service areas. Simultaneously, they allow for natural ventilation, daylight penetration, and lateral circulation. These qualities not only improve operational efficiency but also enhance the everyday experience of workers. In such a spatial framework, factory labor transcends mere mechanical repetition and becomes part of a breathable, multi-layered, and human-centered environment.Ultimately, the core inspiration for this approach lies in a critique of the production-driven and quantifying view of space that dominates industrial architecture. In this project, voids are not residual elements filling in structural gaps—they are generative components that define spatial quality and revive the human experience within the realm of production.

The emphasis on exposed materials in the Shamim Polymer Factory project, such as concrete, steel, and prefabricated elements, reflects a philosophy that can be described as "material honesty"—a philosophy that remains faithful to industrial aesthetics while integrating principles of sustainability and functional efficiency in modern design.From an environmental perspective, choosing materials that are exposed and easy to maintain, like concrete and steel, reduces the need for repeated coatings and painting; this not only lowers the consumption of chemicals and energy but also extends the lifespan of the materials. Prefabricated components further contribute to reducing environmental impact by minimizing on-site waste and allowing better quality control.Aesthetically, the visibility of these materials emphasizes "structural clarity" and "transparency of production processes," contrasting with conventional industrial architectures that often attempt to conceal structural and functional elements. This approach not only enhances the visual authenticity of the project but also conveys a sense of "truth" and "resilience" to its users.Ultimately, selecting these materials with maintenance ease and repairability in mind facilitates the functional demands of an industrial facility and enables sustainable economic operation over the long term. Thus, the material approach is not merely an aesthetic choice but a core part of the project’s strategy to integrate performance, durability, and environmental responsibility.

The courtyard design in the Shamim Polymer Factory project goes beyond aesthetic requirements; it represents a human-centered and psychological strategy to enhance the environmental quality for the factory workers. The interplay of light and shadow in these spaces, combined with the thoughtful integration of green areas, creates a balanced and calming environment that significantly mitigates the stresses associated with industrial work.Natural light, especially as it filters into the interior through courtyard openings, not only provides adequate illumination but also regulates biological rhythms and natural cycles—a scientifically proven factor positively impacting mental health. Shadows play a key role in creating spatial contrast and depth, offering secluded and cozy corners for short breaks and mental respite.Although limited in scope within the factory, the presence of greenery and natural elements strengthens a sense of belonging and tranquility, reducing the monotony typical of industrial settings. This leads to increased job satisfaction and enhanced productivity.From a theoretical perspective, this approach reflects a return to concepts such as “healing architecture” and “empathetic design,” where the built environment plays a critical role in psychological restoration. Thus, Shamim Factory is not merely a production space but a living, human environment that prioritizes the psychological well-being of its inhabitants.

The design process of the Shamim Polymer Factory faced a fundamental challenge: how to reconcile the complex and stringent technical requirements of polymer manufacturing with the aspirational goal of creating engaging and human-centered work environments. The answer lies in an approach that was both analytical and experiential throughout the project lifecycle.Initially, continuous collaboration with technical and engineering teams played a key role in precisely understanding the functional needs and workflow patterns. This technical partnership enabled the organization of the factory space in a way that ensured safety, production efficiency, and compliance with technical specifications without compromise.Simultaneously, special attention was given to the psychological and social needs of the workforce during the design process. Unlike many industrial spaces that focus solely on function, Shamim Factory aimed to create a humanized environment with identity, employing spatial strategies such as a central courtyard, open spaces, and natural light wells. These elements served as opportunities for social interaction, rest, and energy restoration.The balance between the technical and human domains was achieved through flexible design, the use of intermediary spaces, and an integrated approach to production and administrative areas. Consequently, Shamim Factory exemplifies industrial architecture that not only prioritizes manufacturing performance but also values work quality of life and human motivation.

The spatial organization of Shamim Polymer Factory, by eliminating traditional walls and employing open and semi-open design strategies, exemplifies innovative architecture in industrial environments that simultaneously emphasizes functional separation and enhanced collaboration. This approach draws on contemporary design principles such as multipurpose and flexible spaces to maintain work boundaries while enabling free flow of information and interaction between departments.Instead of fixed walls, the use of intermediary spaces—such as internal courtyards, open and semi-open corridors, and flexible furniture—creates boundaries that are gradual and fluid rather than rigid. This spatial dynamism facilitates informal communication and improves team coordination, thereby increasing workflow efficiency.From a workflow perspective, this organization reduces time and costs associated with information transfer between departments and facilitates multidisciplinary project collaboration. In effect, removing traditional physical barriers enables the creation of an open and participatory organizational culture, which is vital in modern industries.Therefore, this spatial model not only supports technical functionalities but also fosters a more human-centered, communicative, and cohesive work environment, ultimately leading to enhanced quality and innovation in production.

In the design of the Shamim Polymer Factory, particular attention was paid to Iran’s climatic conditions, especially the intense summer heat and arid air, transforming these environmental challenges into opportunities to create an efficient and sustainable space. The integration of indigenous architectural principles and local patterns alongside contemporary technologies achieved a balance between industrial needs and environmental conditions.A key element is the use of a central courtyard and semi-covered open spaces, which facilitate natural ventilation and help reduce indoor temperatures. These areas promote cross-ventilation, providing natural cooling that reduces reliance on mechanical systems and enhances thermal comfort for the workers.Furthermore, the materials employed in the project, such as concrete and steel with light-colored surfaces, aid in minimizing heat absorption while ensuring durability and ease of maintenance. Shading devices and controlled skylights limit direct solar radiation and provide soft natural lighting, maintaining illumination without increasing indoor heat.Additionally, the building’s orientation and spatial arrangement were carefully designed to maximize natural light utilization without generating excessive heat. These strategies not only support industrial functionality but also contribute positively to the environmental sustainability of the project.Ultimately, this precise combination of vernacular architectural knowledge and modern technology renders Shamim Polymer Factory an exemplary case of climate-responsive industrial architecture in Iran, where efficiency and sustainability coexist harmoniously.

The research methodology behind the Shamim Polymer Factory project was founded on a combination of quantitative and qualitative approaches, enabling a comprehensive and in-depth analysis of the technical, social, cultural, and environmental dimensions of the project. This methodological integration allowed us to move beyond mere numerical data to fully understand the complex layers influencing the design.On the quantitative side, detailed assessments of performance indicators such as workflow patterns, safety standards, energy consumption, and technical production parameters provided a solid foundation for efficient and optimized design. These data helped identify constraints and opportunities for precise planning.On the qualitative side, methods included user interviews, field observations, and cultural and climatic analyses, which enriched our understanding of human needs, daily experiences of workers, and the cultural identity of the site. This qualitative insight guided us toward human-centered, sustainable design solutions aligned with the local context.The integration of these two approaches facilitated evidence-based design decisions that ensured not only technical functionality but also the creation of dynamic, flexible, and contextually connected spaces. This comprehensive analysis led to innovations in spatial organization, material usage, and the creation of interactive and environmentally responsive environments, which are hallmark features of the Shamim Polymer Factory.

The evolution of the Shamim Polymer Factory from concept to completion between 2019 and 2020 encountered a series of unexpected challenges, each playing a decisive role in shaping the final form and functionality of the project. One of the most significant challenges was the economic sanctions and resulting difficulties in sourcing raw materials, which directly influenced the choice of construction materials and methods.These constraints compelled us to adopt a flexible and creative approach, utilizing local and prefabricated materials that not only reduced costs but also expedited construction. This approach led to the emergence of a more honest and industrial architectural language, while maintaining compatibility with the local identity.Another major challenge involved the complex coordination between technical, engineering, and architectural teams during the global COVID-19 pandemic. This necessitated revisiting schedules, conducting online meetings, and increasing on-site supervision. These conditions enhanced communication processes, multidisciplinary collaboration, and fostered innovative management solutions.Ultimately, rather than hindering progress, these challenges became catalysts for rethinking design and project management, resulting in the creation of an efficient, flexible space tailored to difficult circumstances. Consequently, the Shamim Polymer Factory stands as a prime example of adaptability and innovation in contemporary industrial architecture in Iran.

The design of the Shamim Polymer Factory can be regarded as a milestone in Iran’s industrial architecture, transcending conventional models to address technical, environmental, and cultural issues in an innovative and human-centered manner. This project exemplifies the integration of traditional architecture with modern technologies and environmental sustainability, potentially paving a new path for the development of manufacturing facilities in Iran and the wider region.I envision that future industrial projects will increasingly emphasize flexible designs, climate responsiveness, and attention to human well-being. The Shamim Polymer Factory has demonstrated that it is possible to create spaces that not only optimize complex technical functions but also enhance workers’ quality of life and respect cultural and environmental contexts.Moreover, this project may inspire broader use of local materials, natural ventilation systems, and innovative spatial organization that reduce energy consumption and improve workers’ conditions, thereby contributing to the sustainable development of the industry.Overall, the Shamim Polymer Factory can serve as a model for rethinking regional industrial architecture that not only meets production needs but also fosters humane and environmental considerations—an approach that could gradually establish a new standard within the industry.