Sang-E-Siah Boutique Hotel

Sang-e-Siah Boutique Hotel

Subject of project
The project was defined as the construction of a traditional residence in the historical context of Shiraz, Sang-e-Siah neighborhood with an area of 560 square meters and between five National Registered Buildings from Ilkhani, Zandieh, Qajar and Pahlavi historical periods based on permits and criteria of Cultural Heritage and Tourism Organization.

Historical context of Shiraz
Sang-e-Siah neighborhood, like the whole historical context, has witnessed the migration of its inhabitants for various reasons, including the change of lifestyle, and gradually this uninhabited space has become a main context of cultural and social disorders, as a result of which addicts and criminals are becoming the rulers of one of the most valuable contexts of the city. the only solution for the public sector was to destroy and consolidate the historical context.
In recent years, context rehabilitation projects have been developed based on the demolition and aggregation strategy, which gradually eliminate the proportions of void and mass, the geometric and communication system of passages and the structure of a significant part of historical context by eliminating fine-grained structures and passages, defining large-scale projects and constructing streets.
Over the past decade, private investors who like the historic context have become more interested in renovating and revitalizing traditional homes for a traditional residence and boutique hotels or cafeteria and restaurant by evoking a sense of nostalgia which resulting in little valuable renovation experience.
Meanwhile, the texture of Shiraz, with an area of 360 hectares, has 1700 buildings, of which about 360 buildings are nationally registered. If we assume three times this number as valuable unregistered buildings, a total of 10% of historic buildings are worth restoration and rehabilitation, and a significant number need to be renovated.
A model for modernization with new structures becomes doubly important when we recall the earthquakes that have repeatedly razed the historical fabric of Shiraz to the ground.
A model for modernization with new structures becomes doubly important when we recall the earthquakes that have repeatedly razed the historical context of Shiraz to the ground.

Strategy of design
This project is an attempt to experience rehabilitation and provide a way to spread it in the historical context so that it changes the social and cultural structure and generates the new life.
This project is an attempt to experience rehabilitation and provide a way to spread it in the historical context so that it changes the social and cultural structure and generates the new life. But the main problem in rehabilitation of historical context is to deal with the pseudo-historical patterns desired by decision-making organization that are trying to make an imitation of the original with codes and ornaments which are familiar to our eyes. But in this area, presenting a re-reading of the historical diversity of neighboring buildings from the 3-year-old patriarchal dome to the Pahlavi galvanized gable roof helped the project not get caught up in common codes and motifs and try to be a building of its time and even beyond and in the path of context regeneration, suggest a strategy for the spread of plaque to plaque (rhizome) living in the body of the context, a strategy that can accompany the hierarchy of access of each plaque to the adjacent plaque with movement and pause and the user into organic nesting engage in discovery and intuition at different levels of the time, preserve the fine particles and be a practical solution to solve the property problems of context plaques.
The small area of residential license blocks and the problems of ownership and registration in the field of private investment are other difficulties of re-creation that make the injection of new uses difficult and time consuming. Instead of aggregating the urban plots and defining a largescale mass, we thought of predicting the incorporation of the building, and despite limited financial resources, and the impossibility of possess all at once, we started the design with an initial core and predicted its expansion to adjacent plots and eventually its spread to the context. During the construction of the initial core, two adjacent urban plots were acquired based on primitive predictions, which are currently under construction, and several other urban plots are in the phase of possession. Since we consider the project as part of the context and its success depends on the revitalization of the context and do not limit the prevalence of life in the context to the construction of one or more buildings, we hope to develop this idea to increase the impact and prevalence of life in the context and expand the users of this building. Employees who can be residents of this historical contexts or become new residents of them by working with our complex. Deciding incorporation rather than aggregation will allow the project to live forever, the fine-grained structures are connected to larger mass for different functions with the same position and proportions and passages at different levels reproduce the external communication network inside.

Boutique hotel design process
The context of the project is an intertwined museum site which has a several hundred years old. We tried to design the project along the surrounding buildings and based on the needs, technology and facilities of our time. Hence, we took species, geometry, mass, texture and color from the surroundings; External geometry matching transitions, regular internal geometry and internal diagram meet the needs of the project.
Therefore, according to the pattern of the middle courtyard, all the openings facing inwards and the sky line are formed based on the proximity to the surrounding buildings, especially the historic Mirza Hadi Mosque. The gentle curvature of the entrance form is an attempt to invite guests to the center of the all-brick introverted building with a funnel-shaped spiral passage that provides internal access and future expansion projections at different levels, and opens up to the project roof, which is a point of view. In the middle of the site, the Black Stone Museum stretches with guide signs identifying the surrounding historic buildings. Extending life from block to block is a suggestion for reviving the historical context, but it will always remain unfinished with a hidden and constant desire to expand. Unfinished with a hidden and constant desire to expand. Wherever it finds a valuable structure, rehabilitates it, and wherever it finds a structure with no maintenance values or an urban land plot, it designs and construct a building which is in interact with the context, perception the proportions, geometry and void and mass and tries to represent its era, like the surrounding historical monuments that represented the technology and needs of their time in connection with the context.

Facilities and materials
In order to turn the roof into a viewpoint, the facilities (vents, exhausts, chillers, etc.) of the project were moved to the adjacent building so that the roof would be empty and suitable for events. Under all the floors, acoustic sheets with floating floor details were used so that guests could experience the most silence and calm. The windows are made of sycamore wood, which has long been used as the most compatible with the climate of Shiraz, and all the details have been updated to become a window with today's standard, such as sealed tires, double-glazed windows.
With two separate pipelines, the gray water is separated, treated and returned to the cycle of using tanks and irrigating green space, which in addition to saving water consumption, reduces the inlet volume of absorption wells, which is one of the problems of the region due to high groundwater levels. The use of handmade materials to distance oneself from machine products was one of the priorities of the project so that the texture with human errors in it would be more in harmony with the texture of the region, so brick was used with a tolerance of 10% of size, shape and complexity. And this color and texture extended to the center of the building and the interior space and covered the floor, ceiling and body. The factor that makes the brick especially handmade brick, that doesn’t have a regular geometry and shape, as the main material of Sang-E-Siah Boutique Hotel is to match with the historical context that it located at. The most material that used in all the buildings in this historical context is handmade brick. So, we choose the handmade brick as the main material not to separate from its context. Handmade brick has a long history in this context so we think using it as the main material in a contemporary building such as Sang-E-Siah Boutique Hotel would help to maintain the different specifications of old handmade brick. We try to keep the color, shape, dimension, texture and even brick bond as its old sample. And by all these solutions we keep the building from its serration from the historical context. Inside the rooms, handmade tiles covering the floor and body of the spaces such as toilets injected paint into the space and re-emphasized the hand-made materials with special handmade theme color of them.

The factor that makes the brick especially handmade brick, that doesn’t have a regular geometry and shape, as the main material of Sang-E-Siah Boutique Hotel is to match with the historical context that it located at. The most material that used in all the buildings in this historical context is handmade brick. So, we choose the handmade brick as the main material not to separate from its context. Handmade brick has a long history in this context so we think using it as the main material in a contemporary building such as Sang-E-Siah Boutique Hotel would help to maintain the different specifications of old handmade brick. We try to keep the color, shape, dimension, texture and even brick bond as its old sample. And by all these solutions we keep the building from its serration from the historical context.

M.Shahvar, H.Haghtalab, Salman.Shoorangiz, Sh.Nejati, N.Heydarjan, M.Koohpaye,S.Ordoobadi, T.Farahmandfar, S.Soleymani, P.Esmailnejad.