Contemporary Architecture In Iran

Contemporary Architecture in Iran: from 1925 to the present aims to provide an enjoyable history of contemporary architecture in Iran from Iran's modernization during the mid-1920s to the present. It explores how hopes for a new and better society in Iran became linked to new architectural forms. The book discusses how factors such as the development of new environment, the rise of the architectural profession, and the transformation of the building industry in Iran, all led to the emergence of mature modernist architecture in this country. The book also examines the convergence of architecture with political and social developments in Iran. Architectural developments and the formation of the first generation of trained Iranian architects have been shaped by social developments in Iran. Thus, when discussing various architectural innovations, this text pays close attention to relevant historical developments and social context. This book is divided into seven chapters. The first chapter consists of two major parts. The first part explores factors that led to the first blossoming of modernism in Iran and why Tehran was the locus of this innovation. The second part of the first chapter focuses on the urban renewal program during the reign of Reza Shah, which was the first systematic attempt at urban planning in Iran. Moreover, during the twentieth century, the growth of modern industry and the oil urbanization in Iran led to massive urbanization and the rise of new cities. Focusing on three architectural tendencies (Neoclassicism, Islamic revivalism and the neo-Achaemenid style) of the Sabk-e Melli (the Iranian national style), the second chapter examines how nationalism as a political approach led to the development of a new style in Iranian architecture, as can be seen in the designs for various government buildings that were erected during Reza Shah's reign. The third chapter examines the modernization of Iranian architecture, which entailed the introduction of new forms and techniques. Moreover, it was during this time that Iranian architecture began to develop nearly all of the features of a full-fledged profession. The fourth chapter focuses on the relationship between the modern house, which was a key aspect of Iran's modernist fabric, and Iranian academic architecture. The last part of the fourth chapter examines the mid-1940s apartment houses that catered to tenants of various incomes. Focusing on housing in the Metropolis, the fifth chapter discusses the first multi-block high-rise housing complex projects that arose during the 1970s. This chapter also discusses the White Revolution which not only attempted and achieved a far-reaching transformation of Iranian society but also accelerated growth of the professional middle class. The White Revolution, which developed into a series of white elephant projects, was the main reason for the rapid urban growth rate in Iran. The sixth chapter considers the three phenomena of the International Style, High Modernism and Modern Regionalism, and thereby provides a glimpse of the state of Iranian Architecture. The last chapter of this book covers Iranian architecture after the 1979 revolution. It explores why at this time the main concern of Iranian architects was to marry tradition with the ideas and developments of modernist architecture. This chapter also discusses the new, young generation of Iranian architects that have a global and international rather than regional and imperial focus.Ultimately, Iranian architecture is continuing to progress and develop. This book will hopefully increase awareness of and inspire future research on contemporary architecture in Iran. Moreover, it is also intended to enable Western readers to develop an understanding of modern architecture in Iran.

This book presents an in-depth critical analysis of the internationally recognized, place-specific works of three Iranian architects (Nader Ardalan, Kamran Diba and Hossein Amanat) during the 60s and 70s, and their significant contribution to the emerging anti-modernist discourse.It argues that from the mid-19th century onwards architecture and urban design in Iran has been oscillated between two extremes of modernity and tradition. Drawing on the theory of ‘critical regionalism’ (Kenneth Frampton), the book critically analyses writings and works of the above-mentioned architects and contends that they created a ‘space-in-between’ which unified two extremes of tradition and modernity in a creative way (Khalq-i Jadid: New Creation). The book also contains three in-depth interviews with architects to discuss their singular narrative of the creation of ‘in-between’. A concluding chapter addresses the promises of critical regionalist architecture and urban design in post-Revolutionary Iran as well as the Middle East, where the dichotomy of tradition and modernity is yet a valid account.

Over the last few decades, Iranian architects have made a significant contribution to architectural design. This has, however, remained largely unrecognised internationally, as architects in Iran have had little exposure in publications abroad and the diaspora of well-known Iranian designers working in the West, such as Hariri & Hariri and Nader Tehrani of NADAAA, are not necessarily associated with their cultural background. Moreover Iran, or rather Persia, has one of the richest and longest architectural heritages, which has a great deal of untapped potential for contemporary design. The intention of this issue is both to introduce key works and key architects from a range of generations – at home and abroad – and to highlight the potential of historical structures for contemporary architecture. Features Hariri & Hariri, Nader Tehrani of NADAAA, Farjadi Architects, and studio INTEGRATE. Places the spotlight on emerging practices in Iran: Arsh Design Studio, Fluid Motion Architects, Pouya Khazaeli Parsa and Kourosh Rafiey (Asar). Contributors include: Reza Daneshmir and Catherine Spiridonoff, Farrokh Derakhshani, Darab Diba, Dr Nasrine Faghih and Amin Sadeghy, Farshad Farahi, Mehran Gharleghi and Michael Hensel. Looks at garden and landscape design as well as the urban fabric in Iran from a historical and contemporary context. Includes articles on the work of post-revolutionary architecture.

Over the last few decades, Iranian architects have made a significant contribution to architectural design. This has, however, remained largely unrecognised internationally, as architects in Iran have had little exposure in publications abroad and the diaspora of well-known Iranian designers working in the West, such as Hariri & Hariri and Nader Tehrani of NADAAA, are not necessarily associated with their cultural background. Moreover Iran, or rather Persia, has one of the richest and longest architectural heritages, which has a great deal of untapped potential for contemporary design. The intention of this issue is both to introduce key works and key architects from a range of generations – at home and abroad – and to highlight the potential of historical structures for contemporary architecture. Features Hariri & Hariri, Nader Tehrani of NADAAA, Farjadi Architects, and studio INTEGRATE. Places the spotlight on emerging practices in Iran: Arsh Design Studio, Fluid Motion Architects, Pouya Khazaeli Parsa and Kourosh Rafiey (Asar). Contributors include: Reza Daneshmir and Catherine Spiridonoff, Farrokh Derakhshani, Darab Diba, Dr Nasrine Faghih and Amin Sadeghy, Farshad Farahi, Mehran Gharleghi and Michael Hensel. Looks at garden and landscape design as well as the urban fabric in Iran from a historical and contemporary context. Includes articles on the work of post-revolutionary architecture.

Revolution and tradition are two sides of the same coin in Talinn Grigor's book on Iranian architecture. It starts in 1925 after Reza Pahlavi seized control of the country, but it arcs back to Ancient and Medieval Persia. Not that the government was rejecting modernity. IT instead promoted a reconstruction of the past that would aid efforts to make modern Iran an independent nation with an irrefutable claim to existence and power. Prodigious archival research informs Grigor's account of the excavations and discoveries Iranian authorities used to construct monuments to national heroes like Omar Khayyam, an important mathematician and astronomer of the 11th century as well as the author of the 'Rubauyat'. Grigor also brings immense knowledge to her lively discussions of the modern idiom integrated into such retrospective monuments and buildings. This book is the first in English to study 20th century Iranian architecture within the historical contexts that shaped its from and significance. The corpus of photographs will help the many readers unfamiliar with the architectural riches of Iran. Current turbulence and misunderstanding with the Middle East highlight the important of Grigor's book. ILLUSTRATIONS: 158

A historical account of the development of nationalism in Iranian architecture between 1905 and 2015. Nationalism in Architecture of Modern Iran is the first comprehensive book on modern architecture in Iran to be published in English. It addresses the relationship between nationalism and architecture in Iran and discusses the role Western architects played in the development of modern architecture in the country while introducing some of the most significant and recent projects in Iran. It investigates what it means to design a building that bears an Iranian or Islamic-Iranian identity and how to construct a conceptual platform for critically assessing representations of national identity in contemporary architecture. This book will directly help practicing architects and policymakers of the built environment, especially in Iran, as well as give a comprehensive understanding of the modern history of architecture in Iran to art historians and a broader audience. It introduces some of the most significant and recent projects in Iran for the first time.

One of the most heated scholarly controversies of the early twentieth century, the Orient-or-Rome debate turned on whether art historians should trace the origin of all Western—and especially Gothic—architecture to Roman ingenuity or to the Indo-Germanic Geist. Focusing on the discourses around this debate, Talinn Grigor considers the Persian Revival movement in light of imperial strategies of power and identity in British India and in Qajar-Pahlavi Iran. The Persian Revival examines Europe’s discovery of ancient Iran, first in literature and then in art history. Tracing Western visual discourse about ancient Iran from 1699 on, Grigor parses the invention and use of a revivalist architectural style from the Afsharid and Zand successors to the Safavid throne and the rise of the Parsi industrialists as cosmopolitan subjects of British India. Drawing on a wide range of Persian revival narratives bound to architectural history, Grigor foregrounds the complexities and magnitude of artistic appropriations of Western art history in order to grapple with colonial ambivalence and imperial aspirations. She argues that while Western imperialism was instrumental in shaping high art as mercantile-bourgeois ethos, it was also a project that destabilized the hegemony of a Eurocentric historiography of taste. An important reconsideration of the Persian Revival, this book will be of vital interest to art and architectural historians and intellectual historians, particularly those working in the areas of international modernism, Iranian studies, and historiography.

In Modern Middle-Class Housing in Tehran – Reproduction of an Archetype, Rana Habibi offers an engaging analysis of the modern urban history of Tehran during the Cold War period: 1945–1979. The book, while arguing about the institutionalism of modernity in the form of modern middle-class housing in Tehran, shows how vernacular archetypes found their way into the construction of new neighborhoods. The trajectory of ideal modernism towards popular modernism, the introduction of modern taste to traditional society through architects, while tracing the path of transnational models in local projects, are all subjects extensively expounded by Rana Habibi through engaging graphical analyses and appealing theoretical interpretations involving five modern Tehran neighborhoods.