Urban Elements

Hadioush Sculpture

Hadioush, in SARAAJ’s portfolio, translates an Iranian myth into a metal sculpture. Its character, form and chain details illustrate the potential of a culturally rooted landmark to express strength, release and place identity.

Riding the Wind

Riding the Wind at Mashhad Innovation Factory connects reused scrap metal with a horse’s form and the idea of movement. The project illustrates how a sculpture’s material and subject can align with the identity of an innovation environment.

I Love Kish

I Love Kish expresses a sense of belonging through an artwork in a tourism setting. This SARAAJ portfolio project connects urban-marker design, an emotional message and the communication of destination identity.

Look at the Earth Sometimes

Look at the Earth Sometimes is an interactive installation for discovering City Star’s narrative and artworks. Reinterpreting the traditional peep show and periscope turns observation into active participation, illustrating SARAAJ’s approach to experience-led art.

Restoring Urban Installations in Namak Abroud

The restoration of Namak Abroud’s installations records the renewal of works by different artists with SARAAJ’s management and team involvement. The project focuses on recovering existing artworks’ condition and maintaining the destination’s artistic identity.

The Bowling-Ball Installation at Farabazi, Ghahramanan Amusement Park

Farabazi’s bowling-ball installation anchors the venue’s parallel-worlds narrative. Its relationship with the coffee-shop figure, the split between floor and ceiling and its role as a photo point connect sculpture, place identity and visitor participation.

Unborn World

Unborn World, presented in SARAAJ’s portfolio, connects a Max Ernst-inspired painting with a food court’s spatial identity. Cosmic imagery and a surreal visual language make the artwork part of the environment’s narrative and the visitor’s visual experience.

Orbit of Flavors

Orbit of Flavors extends the Star Pima narrative into a food-and-drink setting through food imagery and cosmic forms. This SARAAJ portfolio work shows how bespoke painting can connect a food court’s theme, visual identity and visitor experience.

Mars

Mars explores the role of a bespoke artwork in a food court’s identity. A ring-like form, a red palette and a graffiti-inspired treatment establish its visual language, translating a cosmic theme into a visible element within the environment.

Starry Night

Starry Night at City Star’s themed food court connects a Van Gogh-inspired painting with a wall-of-fame concept. This SARAAJ portfolio work uses environmental art to express recognition and a sense of community within a commercial dining setting.

Pleasure of Tastes

The Pleasure of Tastes mural combines graffiti-inspired expression with food and cosmic imagery. This SARAAJ portfolio project explores environmental identity through colour, composition and a narrative tailored to a food-and-drink space.

The First Supper

The First Supper reinterprets The Last Supper through graffiti and astronaut imagery, connecting art and imagined futures with a dining environment. Designed by SARAAJ and executed by Milad Khaleghi, it links the spatial concept with artistic expression.

Atlas Sculpture

The Atlas Sculpture brings the Greek myth’s themes of strength and responsibility into the Star Pima narrative. Designed by SARAAJ and executed by Mehdi Tavassoli, it connects sculpture design with the identity of a story-led environment.

On the Edge of Time

On the Edge of Time draws on Giacometti’s sculptural language to explore the body, balance and empty space. Designed by SARAAJ and executed by Mehdi Zolfaghari, it makes the artwork’s form and placement part of the setting’s conceptual experience.

Nostalgia Street

Nostalgia Street reinterprets old London streets as a narrative visitors can walk through. SARAAJ’s design, executed by Mr Chamani, brings telephone booths, benches and street lighting together within a coherent, interactive environmental identity.

Guardians of Light

Guardians of Light reinterprets Chadwick’s figures through angular forms within an artistic environment. Designed by SARAAJ and executed by Mehdi Zolfaghari, this portfolio work explores how sculpture can contribute to a place’s character and narrative.

Radiant Lines

Radiant Lines freely interprets Kandinsky through a geometric composition of energy and movement. Designed by SARAAJ and executed by Hashem Shahriari Moghaddam, it illustrates the contribution of abstract art to a space’s cosmic narrative.

Labyrinth City Star

Labyrinth City Star combines Mondrian-inspired geometry with a narrative of luggage, travel and memory. Designed by SARAAJ and executed by Hashem Shahriari Moghaddam, the sculpture contributes to the venue’s conceptual identity and visitor experience.

Encapsulation and Interactive Facade of Baran Tower

The Baran VIP enclosure and interactive facade connect a property brand with the city through sculptural expression and seasonal messaging. Designed for Baran Construction Holding, the project explores a construction boundary as environmental media and a point of audience contact.

Farabazi Facade

The Farabazi Facade expresses an entertainment venue’s identity at the first point of contact. Bowling elements and aurora-themed lighting make the entrance part of the visitor experience and the communication of the Farabazi brand.

Kish urban elements

The Kish urban-elements collection represents part of SARAAJ’s experience in shaping the artistic identity of a tourism destination. Varied subjects and attention to each setting connect design and delivery with the experience of residents and visitors.

Kish Island Elements

Nowruz uncle

The Nowruz Uncle portfolio entry presents a visual record of a traditional cultural character within SARAAJ’s urban-art collection. It provides a starting point for discussing cultural symbols in the design of seasonal public spaces.

charging hut

Charging Hut is presented in SARAAJ’s portfolio within the field of functional environmental elements. The entry provides a context for considering everyday use and visual identity in the design of facilities for public spaces.

Pasture

Pasture in Isfahan expresses attention to animals and their habitats through urban art. This SARAAJ case connects an environmental message, the placement of an artwork and visual experience in public space.

A Memory Suitcase

A Memory Suitcase in Kish turns travel and memory into an environmental marker. This SARAAJ project illustrates the role of human themes and poetic storytelling in designing an artwork related to a tourism destination’s identity.

Spring Time

Spring Time at Namak Abroud turns the Nowruz tradition of painting eggs into an urban-scale installation. This SARAAJ project connects ritual, nature and seasonal design with the identity of a tourism environment.

Good Mood

Good Mood at Namak Abroud connects Shekarestan characters with interactive furniture and references to Iranian architecture. This SARAAJ project illustrates how familiar storytelling and character design can support audience engagement with public space.

This is Your Home

This Is Your Home at Namak Abroud expresses care for birds and nature through urban art. This SARAAJ project connects an environmental message with place identity and the audience’s relationship with an artwork.

Kindness

Kindness in Kish takes the relationship between people, birds and their surroundings as the subject of an urban artwork. This SARAAJ project explores public art as an expression of social values and environmental identity.

Flying Enthusiasm

Flying Enthusiasm at Namak Abroud turns aspirations and movement into an urban-art marker. This SARAAJ project illustrates the role of a human narrative in temporary sculpture and moments of pause within a tourism experience.

Pattern

Pattern in Kish translates nature-inspired motifs into three-dimensional expression through light and sheet metal. This SARAAJ project explores lighting installations as contributors to night-time identity and the experience of public space.

Motherhood

Motherhood connects a functional element for mothers and children with a tourism setting. This portfolio case illustrates how everyday family needs can inform environmental furniture and amenities alongside visual identity.

Kish, the Happy Island

Kish, the Happy Island expresses a destination message through three-dimensional typography and visual elements. This SARAAJ project connects urban-sign design with tourism identity and direct audience communication.

Ride with Me

Ride with Me on Kish’s cycling route connects the local myna bird with leisure and movement. This SARAAJ project illustrates an urban-art element shaped by local culture and the actual use of its setting.

Life

Life in Kish combines urban furniture with themes of reading and respect for older generations. In this SARAAJ project, a traditional form and planting extend the function of seating into a social and cultural narrative.

Spring Uncle

Spring Uncle in Kish connects the Amu Nowruz character with nature and seasonal public-space design. This SARAAJ project explores the reinterpretation of cultural symbols in an installation that contributes to a place’s identity.

Spring Mother

Spring Mother at Kish Airport connects hospitality and the arrival of spring with environmental art and planting. This portfolio work illustrates the role of arrival markers in shaping the visitor’s first experience of a destination.

Happy Nowruz

Happy Nowruz in Kish combines typographic design with seasonal form and colour. This SARAAJ project explores the expression of cultural identity and a welcoming message at the scale of public space.

Kish 2019

Kish 1398 uses typography, colour and texture to turn a New Year message into a place marker. This SARAAJ portfolio project illustrates three-dimensional lettering in seasonal public-space design and destination identity.

The Rolling Pumpkin

The Rolling Pumpkin at Namak Abroud brings an Iranian folk tale into public space through illustration and contemporary references. This SARAAJ project connects local storytelling, fantasy-installation design and tourism experience.

Popcorn Time

Popcorn Time at Namak Abroud makes a food kiosk part of the leisure environment’s identity. Its bespoke form and relationship with the setting connect product design, point-of-sale space and the visitor experience in SARAAJ’s portfolio.

Colored City Enclosure

Colored City Enclosure expresses the idea of accommodation through a rhythm of houses and colourful forms. This SARAAJ project illustrates a construction boundary coordinated with the development’s concept and its tourism setting.

Enclosing the City Theater

Mashhad City Theater’s enclosure turns the project boundary into a setting for recognising theatre and cinema practitioners. This SARAAJ case illustrates the cultural and identity-building role of construction enclosures in communication with passers-by.

Enclosure of the City Shadow

City Shadow, the enclosure for Mashhad Innovation Factory, turns a construction boundary into a narrative of urban life and identity. Light, shadow and two formal layers illustrate temporary-boundary design with artistic and communicative value.

Nostalgia

Nostalgia at Namak Abroud combines a television frame and Shekarestan characters with the real surrounding landscape. This interactive SARAAJ installation makes visitors and the setting part of the artwork’s completed narrative and experience.

Health Defenders

Health Defenders beside Mashhad’s Hasheminejad Hospital translates gratitude for medical staff during the COVID-19 period into sculpture. The case illustrates environmental art’s role in reflecting social values and the identity of a healthcare setting.

Mice School

Mice School at Kish Airport’s entrance connects shared memories of television characters with arrival at a destination. This SARAAJ project presents fantasy urban art shaped by nostalgia and connections across generations.

The Granny Cold

Granny Cold at Kish Airport reinterprets a traditional character in the context of the COVID-19 period and health awareness. This SARAAJ portfolio work illustrates urban art’s role in culturally grounded communication related to its time.

The “Cow Riding”

Cow Riding at Namak Abroud draws on the relationship between people and local animals. This refurbishment project managed by SARAAJ illustrates the importance of retaining local narratives when renewing environmental artworks.

The “I am Fine Namak Abroud”

I Am Fine Namak Abroud turns a place-based slogan into a three-dimensional marker. Renewed with SARAAJ’s involvement, the installation connects urban typography, a welcoming message and the emotional identity of a tourism destination.

The Cable Car

The Cable Car installation at Namak Abroud reinterprets the destination’s main attraction through a child-friendly, humorous scene. This renewal case managed by SARAAJ illustrates the contribution of existing artworks to thematic legibility and tourism experience.

The Grandmother

The Grandmother at Namak Abroud connects cultural memory and the arrival of spring with a large-scale installation. Its restoration under SARAAJ’s management illustrates the renewal of memorable markers within a tourism setting.

Red Riding Hood

Red Riding Hood at Namak Abroud connects a familiar woodland story with a tourism installation. Its renewal with SARAAJ’s involvement illustrates attention to narrative continuity, environmental quality and the care of existing artworks.

The Namak Abroud Bench

The Namak Abroud Bench combines seating with a maritime theme and an interactive experience. In this renewal project managed by SARAAJ, artistic furniture contributes to the tourism setting’s identity and the memory of visiting it.

I am Namak Abroud

I Am Namak Abroud explores typography as place identity and a photographic backdrop. SARAAJ’s restoration and renewal-management role forms part of its experience caring for the visual markers of a tourism destination.

Up

The Up installation at Namak Abroud brings a familiar animated story into a tourism setting. SARAAJ’s role in this case concerns restoration and management of the existing artwork’s renewal, connecting maintenance with the destination’s artistic identity.

Shaun the Sheep

Shaun the Sheep at Namak Abroud is part of the fantasy-artwork collection renewed with SARAAJ’s involvement. This case illustrates the role of refurbishment in maintaining audience connections and the continuing artistic character of a tourism setting.

Minions

Minions at Namak Abroud depicts familiar animated characters in a playful environmental scene. This portfolio case records SARAAJ’s role in restoring and managing the renewal of fantasy installations within a tourism destination.

Lovely Family

Lovely Family in Kish expresses togetherness through fantasy characters and fibreglass figures. This SARAAJ portfolio project introduces an approach to socially themed urban art that considers the audience’s emotional connection with a public-space element.

Namak Abroud Station

Namak Abroud Station forms part of SARAAJ’s work renewing artworks at a tourism destination. Retaining the cable-car subject and the work’s fantasy language, the project illustrates how existing elements can contribute to environmental identity and legibility.

Travel with Me

Travel with Me in Kish connects curiosity and travel with a child’s image and sculptural expression. This SARAAJ case presents urban-art design shaped by a human theme and its relationship with the destination experience.

A Sunny Day

A Sunny Day forms part of the Kish, the Happy Island art campaign and SARAAJ’s coastal public-space work. It connects enjoyment of nature with tourism identity and an artistic marker for a seaside environment.

Rostam's Glory

Rostam’s Glory at the entrance to Ghahramanan Amusement Park combines the Shahnameh epic with comic characterisation and monumental scale. This SARAAJ project illustrates a landmark sculpture’s role in destination identity and the beginning of a visitor’s story-led experience.