Located on the rooftop of Mica Mall in Kish Island, Iran, Mica Cable-Car Station serves as a point of arrival from, and departure to the renowned Recreational Pier of the Island. Therefore, the station space is meant to be one of the main entrance lobbies of the shopping mall.

The design intent is to render visible the cable-car's flow and sophisticated mechanism from inside the shopping mall. The inner skin of the station, facing the public areas, follows the form of the turning tracks, and the machinery is exposed through a transparent facade. 

The flow of the cable-car is conceived of as a sequence of sensorial experiences that take place in a seamless succession of physical spaces that altogether form the station.

The significant height difference between the public areas of the mall and the cable-car station is taken advantage of to propose an iconic 120m ramp as a structuring element, around which all the major functions and components of the station are consolidated: ticket booth, foyer, VIP parking, operator room, boarding platform and cinema cafe. 

That connecting ramp is the vector that merges the mall, the station platform and the cinema area in one single sculptural gesture.

Community and commons do not exist a priori, nor are commoners born as such. They co-emerge with common matters that connect people and places. Rather than monolithic and unitary, commons coexist and co-emerge at various levels; nestled into one another; larger commons assembled by smaller ones; each of them dynamically expanding, contracting, or fusing with others.

This nuanced view of the commons suggests that it is not necessary to coerce everyone into a unified common mindset, but rather allow and embrace the co-existence of a variety of motives, loosely connected to each other by small and big common matters. In pluralistic societies, a collection of independent actions with self-empowered, strong, intrinsic motivations are important to create sustainable projects and foster creativity.

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