Discussion Table Issue 17

May 17, 2026

Intro
while the villa holds a central place in the history of Western architecture and Italy it leaves out the great villas and villa cultures of Iranian antiquity that so inspired the ancient Greeks and Romans. Originating in ancient Italy, the concept of a residence set apart from urban life and nestled in nature has historically captivated affluent patrons and architects alike. Throughout the ages, while the architectural forms have evolved and the locations transitioned to suburban or urban garden settings, the fundamental design principle has persisted: creating an architectural sanctuary that embodies tranquility for intellectual pursuits and spiritual retreat from city life.
Following the Renaissance, the villa transcended its Italian roots, emerging as a reinterpreted architectural form across Western Europe and other regions influenced by European culture. This evolution reflects a broader appreciation for the villa as not just a building type, but as an ideological construct that fosters a unique lifestyle intertwined with nature and artistic expression.

The Villa: A Platform for Architectural Invention and Critique
For architects, designing villas represents more than just creating residences; it provides an opportunity to test new ideas and solidify or crystalize architectural concepts and theories. The tradition of summer villas has long been associated with a return to the pioneering spirit of artists; Villas, solo houses, or pavilions designed by these architects can be seen as experimental works that delve into technical and functional aspects in concrete terms, while also developing spatial ideas. These examinations, whether built or unbuilt, became ideal settings for discussions on “architectural inventions,” serving as prototypes for future manifestations that can be observed to be the laboratory for testing theories and critiquing the existing methods.

 

Amir Abbas Aboutalebi: Following the opening remarks, it is my pleasure to welcome two distinguished guests to this discussion, taking place at NextOffice in Tehran on January 23, 2025: Dr. Alireza Taghaboni, a renowned Iranian architect, educator, and founder of NextOffice, celebrated for his innovative designs that have garnered international recognition, including the prestigious Dorfman Award; and Prof. Ercan Ağırbaş, a principal architect based in Germany and the Head of the Department of Urban Planning and Architectural Design at GUtech University in Oman. This participation aims to enhance the exploration of the villa as a paradigm for experimental architectural works, delving into architects’ innovative thoughts, theoretical frameworks, and critical reflections.

Alireza Taghaboni: Thank you for organizing this conversation. I agree that a villa offers a unique opportunity to explore new architectural diagrams and pose fundamental questions about architecture and life. What does it mean to have a home? What does it mean to dwell? It’s crucial to push the boundaries of spatial diagrams while integrating the client’s needs and desires with architectural aspirations. Combining these elements effectively is essential. I resonate with these ideas and believe we should expand on this discussion. In Iran, we face three significant challenges: the government, the market, and international influences. Navigating these factors is crucial. For me, the most pressing issue has been market constraints. We need to find ways to gradually penetrate the market and successfully execute our projects. Our first project was relatively small, around 100 to 200 square meters. This experience taught us how to negotiate with the market and engage with potential clients. Previously, we focused on competitions and similar endeavors. I believe there is a narrow path through which we can explore our architectural ideas, push boundaries, and examine new diagrams for living spaces while executing our projects. This process has been very important for me.
Ercan Agirbas: I believe that designing a villa offers architects a unique opportunity because it primarily involves the client who will inhabit the house. Unlike larger housing developments or public buildings, a villa focuses on the relationship between the client—the user—and their personal vision and imagination. For the architect, the villa also embodies their own vision and creativity. As such, it serves as a reflection of the dreams of both the future resident and the architect, who seeks to create a meaningful architectural statement. For me, this process is also the most straightforward way to translate these visions into a tangible built environment.

 

A.A.: Villa Ideology; The villa is a paradigm, not only of architecture, but of ideology. It is generated by psychological rather than physical needs.

E.A.: Humans have an inherent desire to be close to nature, seeking gardens, fresh air, and trees in their living spaces. This longing for a connection with nature is often reflected in the concept of the villa. However, when discussing the term “villa,” particularly in a German context, it becomes clear that there is no universally accepted definition. Is it solely an Italian concept of a country house located outside the city, or can it also refer to a building within the city that still qualifies as a villa?
These houses, or villas, are often built as family retreats for weekends or holidays, providing an escape from urban stress—a place to find peace. However, this raises important questions about the nature of these spaces. I recall having friends in high school whose families lived in larger villas. It’s always a challenge to design a home that can grow with its users and adapt to the changing needs of a family. I often feel that discussions about luxury villas focus on families with affluent, healthy parents aged between 35 and 50 and their young children, typically aged 12 to 16. But what happens to these villas as families evolve? I have a particular interest in images of villas that are no longer in use—perhaps because they are too large or not accessible for elderly residents. This highlights a contradiction in the vision of paradise: while we aspire to create ideal living environments for healthy and wealthy families, we must also consider what happens afterward and how we can repurpose these spaces. In summary, it’s essential to think critically about the long-term sustainability and adaptability of villas, ensuring they can serve future generations rather than becoming abandoned relics of an idealized past.

A.T.: The social and political situation in Iran exacerbates the conditions you mentioned. For instance, there is a strong sense of belonging associated with villas, where many children create their most cherished memories—often more so than in houses or apartments. Additionally, I observe a phenomenon of self-glorification, reflecting a sense of pride among individuals.
Due to the lack of public spaces that allow for freedom and social activities, villas are increasingly becoming venues for social gatherings. In one of my articles, I referred to this trend as “Safa Dasht Villa” drawing parallels to exclusive hotels that offer everything needed for socializing while maintaining clear boundaries from the outside world. This transformation raises important questions about how villas serve as both private retreats and venues for community interaction, especially in a context where public spaces are limited. The evolution of the villa from a secondary retreat to a primary residence reflects broader societal changes and highlights the need for spaces that foster both individual pride and communal engagement. The villa’s singularity is emphasized by strong walls, isolating it from the outside world. It functions in isolation, gated and designed to be self-sufficient, offering every form of leisure and extended stay—effectively a private hotel, a fantasy realized. I believe these villas embody a strong desire stemming from unmet needs within Iranian society. The absence of communal amenities like party rooms necessitates their replication within private villas. This phenomenon should be analyzed not only through the lenses of architectural history and spatial diagrams but also in relation to Iran’s economic landscape, particularly its reliance on oil, governmental structures, and the aspirations of its young population. The oil-based economy inflates land values, turning it into a commodity readily available for capital generation. All these factors converge to create a significant, though not entirely positive, phenomenon that demands multifaceted consideration.

E.A.: Exactly! What I take away from your explanation is the emphasis on rigid boundaries. Typically, we view these boundaries from the inside, from the user’s perspective—seeing the villa as a paradise. However, beyond these boundaries lies a neglected space that is inaccessible to many. The key issue arises when the city fails to provide adequate public activities and resources. This confines individuals to a repetitive work-rest cycle within small apartments, disconnecting them from the city’s vitality. The lack of accessible public space effectively reduces them to mere automatons.

 

A.A.: Villa program; The villa functions as a “myth of fantasy.”

E.A.: I agree with the statement. As I mentioned earlier, villas offer architects the opportunity to explore fundamental living patterns. Basic functions like bedrooms and kitchens have remained largely unchanged for millennia.
When clients approach us—and I suspect this is true for your projects as well—we should not focus solely on the number of bedrooms or kitchen size. Instead, we need to understand their lifestyle: their interactions, family connections, and the relationships among all villa inhabitants. This understanding should organically shape the design.

A.T.: I agree that villas were initially tailored to meet specific needs, but now many people seek similar customized experiences. To achieve this, I emphasize the importance of using architectural programming to understand client needs, focusing on the architectural space rather than adhering to a rigid program. This approach is particularly relevant in Iran today, as it helps balance the budget with construction goals.

E.A.: This client-centered approach is not culture-specific; clients in Turkey or Germany also desire personalized solutions. As such, architects must prioritize ethical and socially responsive designs to effectively meet goals. Clients, often lacking expertise, may use Pinterest for inspiration, sometimes with unrealistic expectations, such as a Scarlett O’Hara staircase. While they can define the program, the land itself also has a voice. As architects, we must balance the client’s vision with the site’s context, recognizing that Pinterest designs require a cohesive vision that extends beyond a visually appealing image.

A.T.: I was referring only to the program, not the shapes or forms. I agree with you about the importance of shapes, forms, and spaces, but my focus is on the program. I believe there is an overlap in client needs. Many clients have similar requirements, yet they express different tastes. Therefore, we adapt the design each time, even for small details like a pool. We look for ways to differentiate similar elements, creating a justification to modify the program. However, I see a common ground among clients who often desire similar functionalities.

 

A.A.: Villa Typology; The villa is generally used to describe any type of detached house that features a yard space and doesn’t resemble any particular architectural style or size. What is your opinion?

A.T.: While there is research on this topic, my perspective is rooted in language. How do we define a “villa”? I don’t view it as a separate housing type. Even a courtyard house can be considered a “villa.” The term is often a matter of personal interpretation, where “villa” implies a more expensive, luxurious, and spacious home. As mentioned earlier, “villa” isn’t a distinct architectural type. It’s a term that has evolved over time from its origins as a farmhouse to its current association with wealthier households.

E.A.: I am opposed to fixed typologies. Each design should be unique, reflecting the specific needs of the family and transcending purely functional requirements. The term “villa” is culturally dependent, with its meaning varying from Germany to Italy, where it still evokes its origins as a detached upper-class country home with unique design features. As modern usage suggests, the definition has evolved, yet its roots remain unchanged. Expanding on this discussion, let’s consider the history of the Italian villa, focusing on the architects and their patrons. The Medici family, for example, played a significant role in shaping this architectural form. Affordability and status were certainly influential factors. This reminds me of the wind tower houses I saw in Kashan. In my view, these structures can also be considered villas, perhaps even larger ones, designed for families and reflecting their cultural context. The differences are not substantial; both feature gardens and innovative cooling systems that make the spaces habitable. This highlights societal means and the adaptability of villa designs across cultures.

 

A.A.: Villa Culture; “The villa poses a cultural paradox;”

A.T.: Memories of past homes are crucial. People often seek to recreate the essence of their traditional houses and connect with their memories. What did our homes in Kashan offer? They featured culture; art, pools, fountains, and small trees—elements that evoked a sense of peace and belonging, which are reflected in design features today. This desire for a “memory of home” often manifests as a longing for a villa outside the urban core, something that apartments cannot provide. While apartments are often the more financially viable choice, they fail to capture this feeling. This is evident in my own situation: our office occupies a villa, while I live in an apartment—a choice driven by both affordability and practicality. Consider the landlords here: after their children moved abroad, they downsized to a smaller apartment outside Tehran, a region filled with villas, and now rent this villa to us. These examples illustrate the evolution of today’s society.

 

A.A.: Villa History; “The idea of villa is not limited to any particular architectural type, culture, or historical moment but rather is a social and ideological phenomenon discernible throughout history.”

E.A.: Yes, I agree. The contribution is significant. A Roman house, with its courtyard and functions arranged around it, along with features like rainwater harvesting, echoes in Iranian houses and Arabic settlements. While some might view this as merely an architectural form, it actually reflects the idea that our needs are the same: water, peace, and community. The similarities are clear because we share common desires, such as the search for paradise, or what is often referred to as “Jinnat”, which are frequently expressed through similar home designs.

A.T.: I believe that villas in the West today differ from their historical counterparts, and a similar evolution has occurred in the East, though in distinct ways. Historically, villas were houses situated near agricultural fields, allowing landlords to oversee their farms. If no farm was present, it was considered a palace rather than a villa. Today, the concept of a villa is rooted in the memory of these older homes. Many people now reside in apartments in densely populated areas, so the idea of a house evokes a desire for interaction with nature and low-density living. This shift reflects how our understanding of what constitutes a home has evolved. The meaning of “villa” shifted significantly from the pre-modern to post-modern era. After modernism, “villa” often evokes a nostalgic memory of older, grand houses. This memory is tied to the experience of suburban living, where houses reminiscent of pre-modern urban dwellings persist as the city center densifies. This concept then evolves into more experimental and abstract interpretations, such as diagrammatic designs. In Iran, the concept of a villa has historically been tied to the Kooshk. Unlike villas in the Western sense, we don’t traditionally have standalone villas. The Kooshk represents a central structure placed within a natural environment, surrounded by a garden, creating a very interactive relationship between the building and its surroundings. This reflects a yin-yang organization, where the solid volume of the Kooshk harmonizes with the void of the surrounding garden, creating balance. What makes the Kooshk particularly interesting is its contrast with traditional Iranian houses, which are typically introverted and centered around an internal courtyard. The Kooshk flips this concept—it uses a similar diagram but opens outward, allowing views of the entire garden from all directions. Today, the idea of a villa is often rooted in the memory of these older forms of housing. In modern times, as people increasingly live in dense urban apartments, the villa has come to symbolize a connection to nature and low-density living—a nostalgic reflection of what houses used to be. This duality in design captures both the desire for privacy and the need for openness, embodying the essence of living in harmony with nature.

E.A.: I appreciate the idea of viewing the Kooshk and the courtyard house as two sides of the same concept, where one represents the solid volume and the other embodies the void. This relationship highlights how both forms create a dialogue between built space and nature. I also believe it’s important to understand the Kooshk, which is referred to in Turkish terminology as a garden house. Traditionally, it serves as a second home, used not for daily living but as a place to relax and escape. Interestingly, when clients approach me today, they often express a desire for this concept of a farmhouse or villa, but they envision it as their primary residence. This shift implies that the villa is now expected to fulfill all the functions of a main house where people live year-round. This transformation from a secondary retreat to a primary residence is fascinating. It raises questions about how the idea of the villa has evolved over time, from being a place for occasional use to becoming the main house that accommodates everyday living. Understanding this distinction is crucial as we design spaces that reflect both the historical significance of the villa and its contemporary relevance.

 

A.A.: The evolution of the villa; The palladian era.

E.A.: The Palladian villa, inspired by the rediscovery of Greek and Roman architecture, used geometric figures to design his ideal villas. As seen in “I Quattro Libri dell’Architettura,” the beauty of his designs stems from their shape, often involving mathematical formulas. While intriguing, I believe these formulas can sometimes lack a human element. Palladio’s villas, often used only seasonally, were a display of wealth—a pavilion in a garden. They embodied the idea of the Kooshk, a type of farmhouse, but his contribution remains significant, continuing to inspire architects. In many ways, he could be considered a modern architect for his time.

A.T.: Palladio’s approach involved developing a comprehensive theory of architecture, where he would explore various design alternatives before construction and examine how different elements coalesce. Interestingly, this process was largely geometric. I agree that he also modified certain construction methods, which shifted architecture towards a more intellectually driven discipline. Geometric formulas helped emphasize the social layers inherent in his designs.

E.A.: I would add that, in Palladio’s work, drawing served not only as a vision for the future but also as a means of documenting the past during the Renaissance. By studying Greek and Roman architecture to understand proportions, he was able to draw inspiration from the past. Given that the Renaissance occurred roughly 1500 years after the height of Greek civilization, this approach makes historical sense. Drawing from the past helped inform his designs. Similarly, architects like Brunelleschi and Piranesi documented ancient Rome to generate new ideas. Thus, drawing became a bridge between past and future.

 

A.A.: The Transformation of the Villa: Late Modernism
A.T.: Adolf Loos’s architectural contributions were rooted in the early 20th century, particularly the post-World War I era. He rejected ornamentation and introduced the Raumplan concept, which envisioned a fluid, promenade-like connection between spaces within a house—a concept later echoed in Le Corbusier’s Five Points of Architecture. Loos radically eliminated ornaments, proposing a design that rejected excess and embraced functionality, as argued in his influential essay “Ornament and Crime.” His interiors fostered a more dynamic and engaging atmosphere. Consequently, the ideas cultivated within his buildings remain relevant and vibrant, while the rigid exterior concepts have lost their appeal, overshadowed by a softer, more nuanced inner spatial organization.

E.A.: It’s interesting to note the relevance of Adolf Loos and his Raumplan concept to contemporary architecture. The Raumplan focuses on spatial elements, emphasizing the interior over the exterior. During his time, the exterior of buildings was often plain due to economic constraints, while architects like Mies van der Rohe, Le Corbusier, and Alvar Aalto helped make his designs relevant to modern architecture.

A.T.: While abstraction defines the modern architectural movement, it manifests in two distinct styles. Walter Gropius and Adolf Loos were proponents of a more concrete and abstract approach, emphasizing mechanical designs. In contrast, architects like Alvar Aalto and Le Corbusier brought an artistic vision to their work. I believe that these artistic visions are what make current architectural designs intellectually engaging.

E.A.: Yes, which is not their fault! They were not expecting things to unfold in that way. However, one thing I’d like to emphasize is that Adolf Loos had a very radical approach, famously declaring that ornament is a crime. When clients ask for detailed ornamentation, I often think, “Where is Adolf Loos to remind us to focus on the essential elements?” Loos’s modern design placed the individual and their need to live in a modern way at the center of architecture. I enjoy introducing Adolf Loos to my students, encouraging them to design using sections rather than floor plans, which I believe is a more modern approach. This method highlights how different spaces, like bedrooms and living rooms, require varying ceiling heights—bedrooms primarily for sleeping. Additionally, Loos brought the concept of the villa back into the city by designing townhouses, which are essentially villas but no longer located outside urban areas.

 

A.A.: Houses vs Villas; The architectural freedom and imaginative possibilities associated with villas allow for the exploration of new design concepts and experimentation with different materials, spatial arrangements, and aesthetic expressions.

A.T.: I think it’s easier to explore theoretical concepts with villa projects or single-family homes because, as mentioned, the limited number of stakeholders involved in villa design—typically just a client and an architect—allows for greater creative freedom. Unlike designing a museum or hospital, where curators or medical experts become more involved, villas offer more space to think about how we live together. Most of our projects involve villas and civic initiatives. The difference is that villas are often executed, while civic projects, such as a theater center, remain unbuilt. For example, the Guyim Vault House project was inspired by Philip Johnson’s Glass House. I envisioned it as a hybrid that combines structural elements like domes, which act as both form and structure, with the openness of a glass house. The challenge was to transform the homogenous nature of the Glass House into something more introverted on the upper levels, where rooms face each other, and more extroverted on the lower levels, where they connect fully with the yard and garden. Structurally, the design features vaulted spaces without columns, using beams instead. For me, integrating scenario, structure, form, and space was crucial. We have many ideas, and I know which ones we consider for each job. The job often feels like déjà vu, as if it’s connected to history. I enjoy exploring this connection in villas. It’s crucial to experiment with elements like the thickness and masonry of walls—what are the limits, and how can we use them effectively? For example, in the Villa Inter-pier project, we examine these ideas first in villas because if they work on a smaller scale, we can apply them to larger projects. In response to that point, I’d like to share our approach. We don’t start with a predetermined goal. Instead, we compile a selection of our past projects and analyze them collectively. Through this process, we often discover a common thread—such as a tendency to explore the boundary between familiar and unfamiliar forms, often with a historical connection. This retrospective analysis then informs our future projects. For instance, our “Duals” concept emerged from this process.

E.A.: Yes, of course. Even today, the villa remains an ideal setting for discussions among us, researchers, and for exploring architectural innovations. Unlike modern homes, which people often change several times during their lives, villas are more stable and may house three to four generations.

A.T.: I think it’s always about the language—houses versus villas. You know, here we have the terms “house” and “villa,” with “villa” being Italian. The word “house” is an English term for a residence, while “Domus” has roots in Latin, and possibly Greek through the concept of “oikos” (household). Regardless of the origin, it’s always about

the shelter where we reside and feel at home. This shelter should be designed in a way that makes us happy, whether we call it a villa, house, Domus, Casa, or Kooshk.
E.A.: Yes, a nice conclusion to it. Interestingly, one of our projects, which was featured in Domus, is a social housing project. This is quite the opposite of a villa, catering to those with lower incomes who cannot afford luxury housing. The term “Domus” also refers to a house for all aspects of living, making this a fitting point.

A.T.: Villas now represent an idealized, almost archetypal, concept of a “house” in the popular imagination. Modern houses have become increasingly practical and dense, making villas a nostalgic touchstone. I believe these concepts are closely intertwined.

 

A.A.: Thank you both for enriching this discussion with your insightful contributions.

 

 

 

CITATION
• Ackerman, James S. The Villa: Form and Ideology of Country Houses. Princeton: Princeton University Press, 1990.
• Boucher, Bruce. Andrea Palladio: The Architect in His Time. New York: Abbevile Press, 1994.
• Coffin, David R. The Villa in the Life of Renaissance Rome. Princeton: Princeton University Press, 1988.
• MacDonald, William L., and John A. Pinto. Hadrian’s Villa and Its Legacy. New Haven: Yale University Press, 1995.
• Peck, Amelia, et al. Period Rooms in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1996. Ackerman James S., The villa: form and ideology of country houses (Princeton 1990)
• Archer, John, Architecture and Suburbia: From English Villa to American Dream House, 1690-2000 (Minnesota 2005)
• Brothers, Cammy, Michelangelo, Drawing, and the Invention of Architecture (Yale 2008)
• Elet, Yvonne, Architectural Invention in Renaissance Rome: Artists, Humanists, and the Planning of Raphael’s Villa Madama
(New York 2018)
• Glaire D. Anderson, The Islamic villa in early medieval Iberia: architecture and court culture (Farnham 2013) p.6-7
• Loudon John Claudius, An Encyclopedia of Cottage, Farm, and Villa Architecture and Furniture (London 1833) p.01
• Sellers, Vanessa Bezemer, and
Geoffrey Taylor.
• (Una casa di Magistretti, in collina, Domus 409, December 1963)
• Villa ideology as literary production and writing architecture (Villa Magazine, Monograph issue No.10 2018)