Interview with Parviz Ghasemi

Our office is less a mere venue for executing architectural projects and more a space for learning and experimentation—a place where we strive to find solutions that not only meet the client's requirements but also advance the practice of architecture in our own way. We seek out innovative approaches in the quality of the spaces we create and in the construction details we design.

For me, design is a kind of revelation—each time, I wonder what is about to unfold.

I have always been fascinated by living spaces—and the quality and feeling they can convey to their future residents—and working in this field is even more compelling to me.

Among the projects I’ve worked on, I particularly liked the Sarv project—a mixed-use office and commercial building. I also have a fondness for the Yekom project—a residential building and one of our firm's first in that sector—because we had such a great team and carried the work forward with a really positive spirit.

A car canopy

Brick and concrete

When the issues and complexities of the work mount up...

I try to view the project from various angles—considering the design itself, its impact on the surrounding environment and the end-user, and the construction conditions.

It involves mixed emotions; the design process is a journey of discovery—you arrive at a solution and feel happy, but then, as you move forward and view it from different angles, you realize it wasn't actually a good idea. Often, you simply don't come up with a good idea at all, and you worry about what to do next.

A unique sense of satisfaction

A great many factors play a role—from the design team and the client to the project's execution team.

When it comes to the work I design myself, once I’ve reached a result, I make sure to give both myself and the project a few days. Then, I see whether I still feel the same way about it or not.

Of course, the projects we create are mostly on a small urban scale, so they cannot significantly impact an entire city or neighborhood. However, we make a concerted effort to view each project within its specific context; furthermore, regarding materials, we try not to rely on what is merely common in the market, but rather propose what is truly suitable for the project and its particular location.

با توجه به پیشرفت تکنولوژی چه در زمینه طراحی و چه در زمینه ساخت که امکانات بیشتری رو به طراحان میده آینده خوبی در انتظار هست

In general, architects in Iran do not hold exhibitions of their work; if any work is exhibited, it is usually in the context of competitions.

Until now, I’ve mostly gravitated toward modern architecture and architects, but I feel that Iran’s traditional architecture offers great material for inspiration and contemporary adaptation.

I lean more towards modern and minimalist architecture; in fact, the uninspiring examples of classical and postmodern architecture being built in my city have further driven me toward the modern style. However, I believe it is essential to view architecture and design—and the world at large—from a broader perspective. I observe that various countries have made significant strides by drawing on their own indigenous architectural traditions, resulting in works that are contemporary yet deeply rooted in their local heritage.

I live in Iran, and living here—with its rich cultural and architectural heritage—inevitably shapes one's approach to both work and life. This presents a unique dynamic: on one hand, you have a vast architectural legacy to draw upon as an asset; on the other, the existence of such magnificent historical masterpieces makes the task of continuing that tradition incredibly challenging. This is precisely why there is such a strong inclination in Iran toward contemporary global architecture—it avoids the burden of directly continuing the land's past traditions and simplifies the process of comparison. However, I believe that—much like how the world's leading architects are increasingly turning their attention toward the East—this region holds a wealth of potential for architectural discovery and evolution.

Within the framework of agreements and contracts

Based on the work already done and initial discussions, the aim is to determine whether there is an alignment of fundamental intellectual concepts—or at least an acceptance of the designer's theoretical framework—and whether that framework actually benefits the project.

The design process can vary depending on the specific project, the firm's current workload, and the team involved; some projects require a more robust start with a larger team, while others do not. However, the fundamental approach involves examining the subject from various angles, generating diverse options, and engaging in an initial exchange of ideas with the client—steps that ultimately determine the project's direction.

If you mean items designed by others that I really like, I could mention quite a few things—such as my music player, the plastic flowerpots I bought, the artwork, the chairs, and many small accessories—where the designers truly deserve praise.

Generally, architects devote a large portion of their time to work—and you find yourself thinking about problem-solving and work even during off-hours—but I am trying to carve out some free time so I don't get lost in the work.

I may not be the best person to offer advice to young people, but I would like to share something I’ve learned from others: acquiring knowledge in any field aids in design, as I believe design is an interdisciplinary pursuit. The more you study diverse subjects, the more it influences your perspective and your approach to work.

In my view, being a designer changes your mindset—perhaps that is the most significant positive aspect.
The downside, I think, arises when you encounter things that conflict with that mindset.

Trust your gut.

In my opinion, skill is the result of knowledge; the more knowledge you possess regarding the field you wish to design for, the more successful you will be in your designs.

Books, computer and necessary software, and paper and pen.

Yes, that is exactly the case. Fundamentally, since the design phase is consistently allocated the least amount of time in clients' schedules, managing the timeline becomes extremely difficult—it is a perennial challenge that I’d rather not elaborate on.

It depends heavily on the object itself; fundamentally, the design process is an endless endeavor, and you eventually have to wrap it up at a certain point based on the prevailing circumstances. In my view, the project concludes when your allotted time runs out, because the pursuit of perfectionism can otherwise drag you on indefinitely.

How long does the design take?

Working in offices that operated based on established principles has been—and continues to be—a valuable source of experience for me.

Individuals with personal projects