Announcement of the “New Plasco Design” Competition Results
At the beginning of the session, in accordance with clause 23, section 4 of the comprehensive regulations for holding architecture and urban planning competitions, the competition manager presented the results of the design review in terms of compliance with the competition program, along with designs outside the regulations and competition program, to the honorable jury.
Then, the jury agreed on the evaluation method and after three elimination votes decided that in the final stage, among the 13 designs that advanced to this stage, scoring would be done by secret ballot to select the top 10 designs.
Sparks of Revival in Silence / Second Place
.jpg)
The realization of a monument-like incident-breaking structure in the memory of the remaining silent mass of one of Tehran’s earliest high-rise buildings. In such symbolic visualization, a pure and silent volume precedes the scale of the previously demolished building, and from the gap created by the incident, sparks of revival radiate outward. Traces of this can be seen in the opened skylight surfaces in the building corners.
Designers: Naghmeh Hemmatian, Ali Eskandari
Design Collaborators: Houman Malaeiri - Mehdi Mokhtari
Presentation: Abolfazl Malaijerdi – Nasim Alvandi
First Place in the New Plasco Competition
.jpg)
.jpg)
.jpg)
.jpg)
Design Team: Abolfazl Malaijerdi - Mohammad Zabihollahi
In competitions, I focus on my own idea, not the taste of the judges. Now, in Plasco, the judges were suddenly changed. Many are upset about this, but I, like all participants, adapted to the changes. Some focused on the martyr firefighters. That’s one idea, but I also had to consider the survivors, as their number is not small. In fact, one of the Plasco residents and shopkeepers is a family friend. I see up close that their lives are waiting for the new Plasco to be built so they can return and resume their activities. A shirt production business has completely changed now. I was able to create a sculpture like the others. Some might like it, but I considered the living conditions and business revival of the shopkeepers. Some were only concerned about the memorial, and many worked on it on the ground floor. The Istanbul Crossroad ground floor situation is obvious, and over time, what will happen to the memorial? Space for beggars and profiteers. Like the open space of the Academy of Arts, which was closed. I placed the memorial on the roof due to the building’s height, so it does not hinder business during crowded visits. I don’t think any design had such an idea. The logo-inspired design was also important for me. My work’s structure is fundamentally based on the logo. Integrating the logo with ancient architecture was important. There is no problem; I did not design a sculpture. I created a principled work for the shopkeepers. That is the entire philosophy of my work.