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Luminous white composite panels articulate a series of sweeping parabolic vaults that define Fatemeh Salehi Amiri's Ice Cave Presales Office, their seamed construction revealing a tessellated membrane
Fatemeh Salehi Amiri's Ice Cave Presales Office manifests a radical spatial proposition through organic parametric surfaces executed in monochromatic white, establishing an environment where curviline
Fatemeh Salehi Amiri's Ice Cave Presales Office orchestrates an extraordinary architectural experience through sinuous, undulating forms cast predominantly in pristine white sculptural surfaces that f
Fatemeh Salehi Amiri's Ice Cave Presales Office presents a monochromatic interior landscape rendered in a palette of cool grays ranging from luminous pearl to deep charcoal, establishing an atmospheri
Fatemeh Salehi Amiri's Ice Cave Presales Office presents a luminous architectural interior where undulating white surfaces dominate the spatial envelope, establishing a continuous flowing topography t

Gold Interior Space and Exhibition Design · 2021

Ice Cave Presales Office

by Omid Amini and Fatemeh Salehi Amiri

  • A' Design Award 2021 Gold Winner in Interior Space and Exhibition Design
  • Awarded April 15, 2021
  • CLIENT: Sizan
  • Estimated Number of Design Views: 32,750
  • Verification code 90B84CB8E9 · Verify this award
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About Ice Cave Presales Office

Ice Cave is a showroom for a client who needed a space with unique quality. In the meantime, capable of showcasing Various properties of the Tehran Eye Project. According to the project's function, an attractive yet neutral atmosphere for showing the objects and events as needed. Using minimal surface logic was the design idea. An integrated mesh surface is spread across all space. The space required for different uses is formed based on foreign forces in the up and down direction exerted on the surface. For fabrication, this surface has been divided into 329 panels.

Fatemeh Salehi Amiri's Ice Cave Presales Office emerges from a contemporary architectural discourse that seeks to reconcile the organic and the technological, creating immersive environments that transcend conventional commercial typologies through poetic spatial invention. The design demonstrates remarkable facility in translating natural geological formations into architectural language, with the undulating vaulted ceiling evoking the striated surfaces and luminous qualities of glacial ice caves while employing advanced fabrication techniques that achieve seamless curvature across an extensive interior volume. The compositional strategy establishes a dialogue between manufactured precision and natural growth, positioning a lush vertical garden as a counterpoint to the pristine white synthetic surfaces, thereby activating biophilic responses that connect occupants to living systems within an otherwise highly abstracted environment. Technical accomplishment is evident in the meticulous panel alignment that maintains visual continuity across complex double-curved surfaces, while the integration of concealed lighting systems produces an ethereal luminosity that dematerializes structural mass. Thematically, the work appears to explore transformation and threshold experience, suggesting that the act of crossing into this space constitutes a passage from quotidian commercial reality into a realm of heightened sensory awareness and contemplative possibility. The sculptural seating elements, rendered in materials that echo the organic curves of their architectural context, function simultaneously as functional furniture and as compositional anchors that guide circulation patterns while providing moments of repose. One observes resonances with traditions of sacred architecture across cultures, where light, geometry, and material combine to elevate consciousness and prepare visitors for significant encounters. The viewer might consider how architecture shapes expectation, whether environments that depart radically from convention influence the perception of what they contain, and what it means to begin a commercial relationship within a space that evokes wonder rather than transaction.

Press Kit

Unique Properties
The need for an exhibition space and the potential to provide features, details, and replicas of the Tehran Eye project. Also, this section's location on the first floor and the use of two skylights for natural light provided very exclusive conditions for the design of a cave space, which provided a ceiling property or a free form as opposed to neutral walls. The emphasis of the space design was focused on the roof and columns, elements that provided a suitable basis for the design of this space.
Dimensions & Packaging
Ceiling: 290 m2
Ceiling Composite panels: 329
Floor: 200 m2
Tags
Minimal Surface, Digital fabrication, computational design, Digital design
Production Technology
The logic of minimal surfaces was used according to the project's need for an attractive yet neutral atmosphere for showing the project's predicted function.
For Fabrication, this surface has been divided into several panels (329 double curve composite panels). The main constraint for products these panels is using a three-axis CNC machine (Styrofoam block with a density of 37 kg-m3, 1.1.2 m3). At the same time, the method of installing panels and details of connecting to the main structure has also been taken into consideration.
Design Challenge
construction, a few points, needed research, at least the change in the size of the parts based on climate change that sometimes reaches forty degrees Celsius, on the other hand, due to the general use of this project and the rapid flammability of the composite Need fire retardant or fire-retardant compounds.
facilities, due to the middle space between the shell and the structural roof, this section was used to reduce the energy required for air circulation.
green wall section, the use of the most suitable type of these walls, as well as plants and irrigation conditions and light required by plants, are among the items studied.
Project Duration
The project started in April 2016 in Tehran, Iran, and finished in June 2018, and was a sale office for selling stores of Tehran eye Commercial and entertainment complex.
Operation Flow
Visitors are first confronted with a section that can personally use the provided tools to overview the different sections and general and technical information of the Tehran Eye.
then they introduced the project with the guidance of staff using wall-mounted displays. In the second part, customers can sit next to fixed and movable furniture, and listen to the sales manager's explanations. In the final stage, visitors face sitting or standing with a large screen that is projected.
Research
Type of research: Use of current world articles and journals
Objectives of the research: Making a free-form shell with the least use of materials and in the shortest possible time, using the project facilities to save more energy consumption for the cooling and heating system, using green space with optimal irrigation in mind.
Due to the different parts of the project, several topics were important for initial research and studies.
-design section, what needed more research and study in this section was the optimization of consumables and construction stages according to local materials and devices.
Inspiration
Icy cave project has been designed and built in order to presell commercial units of a commercial-recreational Tehran Eye complex. In its early years of operation, this space will be used for selling commercial units. Then, it will be transformed into an event hall. Therefore, this issue has been taken into consideration in the design of this project, and it's fixed as well as the mobile layout of the furniture.
Image Credits
Image #1: Photographer Parham Taghiof (Persia Photography Center), Ice Cave, 2018.
Image #2: Photographer Parham Taghiof (Persia Photography Center), Ice Cave, 2018.
Image #3: Photographer Parham Taghiof (Persia Photography Center), Ice Cave, 2018.
Image #4: Photographer Parham Taghiof (Persia Photography Center), Ice Cave, 2018.
Image #5: Photographer Parham Taghiof (Persia Photography Center), Ice Cave, 2018.

Other Images: Photographer Masih Mostajeran (Deed Studio)
Patents
For copyrights: "Copyrights belong to Fatemeh Salehi Amiri, 2018."

For trademarks: "Sizan (2011) Fatemeh Salehi Amiri, Omid Amini, Avid Amini"

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