Preface by the author

When I was younger, about 10 years ago, at the peak of my time in architecture, I wrote on my personal page, “The most important project in the life of every architect is to build himself.”
Probably, in those days, I wrote this text only due to my inclination towards the philosophy of existence and the fundamentals of my architecture. It is interesting without knowing that in these 10 years, like all the people who have this feeling, like a wave
Without knowing it, I have traveled a path and now, as the founder of the Understanding Space collection, I am writing this text for you.
This year, for the first time, I tried to practice writing a space understanding manifesto, I feel like I’m 30 years old and 6 years old
Understanding the space in the first year was the time and maturity to write this article. The hardest writing I ever experienced was this one-page manifesto.
Recently, in parallel with the writing of this text, I saw a quote from Professor Bahram Shirdel, who said that an architect does not talk well, he does architecture.
Maybe I am a bad architect who is writing this text, but I feel that since the time of the ancient Stoics, writing and paper have led to the transmission of knowledge and knowledge of science and philosophy.
I feel that architecture has a high place among science and art.
Architecture can influence people’s philosophy of existence. Maybe it is not in vain to be present and to be present at the time of writing.
The manifesto of every artist or architect is a full-length and lasting mirror of his worldview and his efforts to reach his goals, so it is very difficult to write.
Now I am writing about the practice of architecture and space making, the first existential base of the understanding of space. For me, it was much more difficult than the previous experiences of practicing architecture.
In the projects, always searching for the spirit and philosophy of the existence of the life of the clients of the projects and reading the problem statement of the project was one of the sweet ways to start the projects for me, in fact it was the entrance to the beginning of its happening. I looked, I did not see any clear goal and path in advance.

I tried to read the understanding of space to see what kind of space can be a container for people to spend their time understanding space.
The sentences were long and meaningless, the needs were generally unclear and varied. Someone tried to find a suitable answer to the design problem.
The understanding of the space, whose whole effort was to provide an identity for people’s lives, was completely ambiguous in its own spatial structure.
In the end, it was decided not to see the Derek Faza office as a project and to visualize this vessel as one of the team members, as if someone had been added to our group, ladies and gentlemen, this is you and this being, Mr. Derek Faza

Intellectual structure of space formation
The personality of understanding the space in general seems to be a certain way from the reading of his projects.
Inquisitive, self-identified, practical and talkative (like myself), active and lively, always in motion, changeable and spacious and fluid.
All of my definitions of the perception of space are dual and contradictory characteristics. Yes, this is true.
In the way of the general structure of our projects, rather than following a continuous and clear line, we have always been in the conflict of mutual thoughts, and perhaps in each project where the force of one factor did not overpower the other, the experience of being in the physical space can be felt.
We needed specific human spaces for the office, the plan was clear and specific, the studio space with a capacity of 9 people
meeting hall and management room, dining area and other service areas. But the understanding of space needed human elements to continue the daily presence of its people.
At the beginning of the entrance sequence, we were faced with a broken geometry, and it is clear. In the initial plan of the project, this failure made us try to have a new vestibule and gholam-surah by using the old geometries in Iranian architecture.
The sequence of entering by trying to follow the controllable visual extension to the end of the atelier and with a turn reaches two paths; Entering the main hall (atelier) and entering the meeting and management room.
This hierarchy is emphasized by changing the material and vertical ranking.
In spatial diagrams, the effort is to define each specific space. For example, we can say that we are in the studio now, or we are in the front entrance or the meeting room without having a door or wall, each space is defined.

Even some of these ranks in this structure are pre-orders for the next order. For example, the coffee kiosk is an understanding of the space, despite the fact that it is a meaningful and objective entity, it is a pre-entrance and a barrier to demarcate the dining space and the studio. Here, at the same time that he makes an effort for his performance and presence, he gives his people the feeling that they are present in another arena. This is for making and brewing coffee.
Now you can sit in this space and practice leisurely, as if you went to a cafe for 10 minutes between working hours and returned to your office with operations during the show.
For us, before sitting and working spaces, this route and movement in space was important (corridor loop at the beginning and end of the plan) as if the corridors were our main function in this project.

Understanding the space in his projects seeks to see the existing functions in a different way. In this way, walls, materials and objects are also used. In all projects, by emphasizing the suspension of elements, we have sought to achieve the element of comfort, movement and breaking the habit.
We also practiced this issue in our office, at the same time creating complementary functions with these objects was another exercise for us, such as experiencing the construction space and collective discourse in the age of the office with a suspended table (north of the plan), here you can do collective work. did, discussed and practiced.
Kenji, which was turned into an abandoned corner in the previous plan due to the existing broken geometries, became an objective, active wall.
For the library in the form of a sculpture, at the same time as a buffer for the service and the workshop.