House No.10 / USE Studio

Architects: USE Studio
Area: 400 m²
Year: 2022
Photographs: Mohammad Soroosh Jooshesh
Contractors: Ansaripour Construction Co.
Architects in Charge: Mohammad Arab, Mina Moeineddini
Project Architects: Elaheh Hajdaei, Nazila Rabiei
Associates: Sepehr Azizpour, Faezeh Tayefi
Structure Engineer: Hossein Doudi
HVAC Consultants: Hamid Mohajerani
City: Isfahan
Country: Iran

House No.10 designed by USE Studio in the Jolfa neighborhood of Isfahan explores the idea of “home” as more than a physical structure, framing it as an expression of identity, daily life, and connection to the broader context. In Iran, the shift toward viewing housing as a commodity began in the 1950s with urban expansion, oil wealth, and misguided policies, becoming more institutionalized by the 1970s. The project responds by searching for a renewed, contemporary meaning of home that supports resilience and restores a sense of peace for its inhabitants. Situated near the historic Vank Cathedral in a district established by Shah Abbas Safavi for Armenian resettlement, the area was once defined by strong residential continuity and landmarks like Maryam Church and Jolfa Square. In recent years, the rise of tourism has led to a decline in permanent residents, with many homes turned into commercial spaces. The project proposes home and residence as active tools for reinforcing the physical, social, and cultural fabric of the neighborhood.

The project seeks to examine the idea of “home” not only as an architectural typology but also as an essential part of daily life and personal identity. It approaches home as something that transcends physical location and embodies the relationship individuals have with themselves, with others, and with the larger universe. Over recent decades, the meaning of “home” has shifted significantly in both Iran and the wider world. In Iran, the turning point in this transformation can be traced back to the 1950s. At that time, the combination of rapid urban population growth and increased oil revenue, along with flawed governmental policies, led to the commodification of home as a tool for capital generation. By the 1970s, this shift had become institutionalized, and housing emerged as the most dominant investment sector in the country.

In the design process of “House Number 10 Jolfa,” the architects saw an opportunity to explore a deeper, contemporary interpretation of what “home” means today. The project aims to engage meaningfully with its surrounding context and to create a space that offers safety and peace, helping to restore a sense of calm and stability for its residents. This raises the question of whether redefining the notion of “home” in response to current conditions can lead to more livable and resilient environments for people living in challenging geographic and social circumstances.

“House Number 10” is situated in the Jolfa neighborhood of Isfahan, adjacent to Vank Cathedral, a site designated by the order of Shah Abbas Safavi 400 years ago for the relocation of Armenians from Zayandehrud to Isfahan. Landmarks such as Vank Cathedral, Maryam Church, Beit al-Ham, Jolfa Square, and historic residences still stand today, offering tangible evidence of the architecture and lifestyle of the Armenian community. In recent decades, however, Armenians no longer make up the majority of the neighborhood’s residents, as many have migrated elsewhere. Moreover, due to Jolfa’s location and tourism potential, a number of spaces have been transformed into cafes and restaurants, shifting the character of the area into a destination for leisure for both locals and tourists.

As this transformation has progressed, the presence of “home” and permanent residence in the area has diminished, while commercial and tourist-oriented spaces have increasingly taken their place. While the development of public spaces and tourism infrastructure brings various benefits to the city, if this trend continues without thoughtful planning and a comprehensive understanding of its impacts, it may lead to significant negative consequences. One of the most critical outcomes is the erosion of the neighborhood’s “social texture,” resulting from the displacement of permanent residents and the disappearance of daily life from the urban fabric. This raises the question of how the concepts of “home” and residence, as fundamental components of the city, can actively contribute to shaping the physical, social, and cultural transformation of their surrounding context.