Shamim Polymer Factory

The most important idea of a design is to create coexistence between different employees of the factory through an architectural space. For this purpose, it focused on the employees’ common areas, i.e. communication environment. These communication areas are only part of the factory where all employees are allowed to use. To achieve the aforementioned coexistence, the spatial quality of the access and communication areas must create a sense of belonging in the personnel. So the goal was to create a warm and amiable atmosphere that is familiar to the audience. Indigenous architectural patterns was used as a tool to increase the quality of access area in this project. In Iran, there have been specific patterns for organizing design of buildings from the past. The middle courtyard and the axes perpendicular to each other are two important patterns in Iranian architecture. Documents are available that show these two patterns were used in the design of industrial uses about 400 years ago and in the historical era of Safavid. The factories, called BIOTAT, had two axes perpendicular to each other and a yard between them.

The concept of this complex took place in two outdoor void spaces perpendicular to each other. One void stretches south to north and the other empty space stretches east to west. The geometry of these void spaces makes separation of different parts possible and acts as a middle courtyard for connecting different areas with each other.Human dimensions, open air, light and shadow, green space and color increase the sense of middle courtyard. Different sections with glass walls or windows overlook the middle courtyard and improve its psychological security.

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.

merely a formal or decorative gesture; rather, it is a conscious attempt to rethink the relationship between function, aesthetics, and cultural memory within an industrial context. The use of the central courtyard and cruciform axes—archetypes rooted in Iranian architecture, particularly in houses and caravanserais—has been reinterpreted here to simultaneously address the operational needs of a modern factory and to convey a cultural code of gathering, centrality, and cosmic order.Functionally, the cruciform layout enables an efficient organization of the factory’s various activities around a central court—an open space that acts as both a visual anchor and a circulation hub. This stands in contrast to the linear, purely utilitarian models often found in contemporary industrial design, which typically sever ties with the cultural and spatial contexts of their surroundings. In this sense, adopting this pattern represents a form of resistance against the modernist separation of form from context and collective memory.Culturally, the reimagining of the central courtyard—as a space of ventilation, collectivity, and stillness—serves as a symbolic revival of the inward-oriented spatial order that defines Iranian architecture. But this revival is not a reproduction of tradition; it is a contemporary translation that avoids falling into decorative traditionalism. It aims instead to bridge the divide between rootless industrial technologies and contextually grounded spatial narratives.Ultimately, this synthesis of courtyard typology and cruciform geometry with structural logic and industrial materials does more than optimize functionality—it embeds workers and visitors within a spatial narrative of place, history, and identity. It represents an effort to reestablish a dialogue between architecture and culture, even in typologies that are often devoid of such conversation.

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.