6 meters above the sea level and 480 meters from the sea, on the boundaries of Kish Island is a site of 141,000sq/m that is advantageously situated on a unique zoning ground which allows for; commercial, entertainment, and leisure and office spaces. Making it highly desirable for a mixed use complex; thus 30,000sq/m of contextual architecture called Negin has become the consequence.

The core concept is Contextual architecture, which is the way culture and context; coincide to help shape the built environment. As long as human architecture remains an activity of human beings, it cannot but be influenced by culture of human societies. Culture is ever evolving and in the process it provides inspiration to architecture to evolve to its higher creative expression and synthesis. Architecture is an expression of culture. Thus this project in its broadest sense incorporates the essence of all aspects of human endeavor. The awareness, wisdom and knowledge in various fields are synthesized in a way of life that is reflected in this project. In this way it is culture that shapes architecture.

During different periods of evolution architecture has recorded the impact and influences of culture of its time and place, in this manner architecture becomes a container in which different environmental aspects (physical, cultural, historical etc...) react together to give us the physical product, and this is precisely what the Negin Project is about; It is a source of reference to the culture of different societies in time.

The pre-Islamic styles of Iranian architecture draw on 3-4 thousand years of architectural development. Each of the periods of Elamites, Achaemenids, Parthians, and Sassanids were creators of great architecture that over the ages has spread wide and far to other cultures being adopted. Although Iran has suffered its share of destruction there are sufficient remains to form a picture of its classical architecture. Indeed these remains have been reconstructed within the Negin complex, conceivably to reinforce their vanity and prolong their stay by shadowing their identity over the contemporary era and onwards.

With a reflection on the traditional architecture of Iran and its historic monuments the combined effect is evident in the final design. Harmony between structure, culture, and architecture is prominent within the whole project. For example Tāq-e Kasrā is one of the oldest arches in the world built in the second half of the third century AD in the Sassanian period. It is the widest vault built without reinforced masonry and forming (brick and mortar, plaster) in the world. A replica of this great monument makes the entry to the Negin Complex.  

Innovation methods of buildings that form vaults were used from Parthian time. Structural elements such as high columns and long distances between them were utilized in Achaemenid architecture, especially in the construction of Persepolis. Arch and dome construction of various vault structures such as Karbndy that was born in Iran and Expanded. Central courtyards etc… these innovative methods were taken from ancient monuments within Iranian history. However some monuments within the project are seen as direct replications, these include;

Tāq-e Kasrā near the modern town of Salman Pak, Iraq. Khaju Bridge in Insfahan, Ᾱb anbᾱr in Shahrud, Yakhdᾱn in Kerman, Fire–Temple in Kashan, Tarikhaneh mosque in Damghan, Robat-e Sharaf in-between Merv and Nishapur, Soltanie Dome in Zanjan, Ᾱli Qāpu in Isfahan, Arg Of Karim Khan in Shiraz and Vakil Mosque are all evident throughout the Negin Complex.

To produce this iconic building another primary objective was to contextualize works of architecture to reveal how wider cultural influences inform their production. This is done through examining theoretical discourses from the disciplines of architecture and cultural studies throughout the history of Iran, undertaking experimental design projects, and evaluating the work of other architects and their buildings, based on an understanding of their complex cultural contexts. Indeed Traditional Iranian architecture has maintained a continuity that, although frequently shunned by western culture or temporarily diverted by political internal conflicts or foreign intrusion, nonetheless has achieved a style that could hardly be mistaken for any other.

Exploring the ambiguities of how we define the word ‘culture’ in our society, this building identifies its imprint on architectural ideas. It expresses the historical role of Iranian culture within an architectural production and expression, looking at meaning and communication, replicating the formations of cultural identities and employing these elements in a single unity of architecture is the intelligence of the Negin complex.