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Latest Attempts in Contemporary Iranian Architecture in Search for Authenticity

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Latest Attempts in Contemporary Iranian Architecture in Search for Authenticity Journal of Architecture and Urbanism ISSN 2029-7955 / eISSN 2029-7947 2020 Volume 44 Issue 2: 176–187 https://doi.org/10.3846/jau.2020.12165 LATEST ATTEMPTS IN CONTEMPORARY IRANIAN ARCHITECTURE IN SEARCH FOR AUTHENTICITY 1,* 2 Ghazal FARJAMI , Guita FARIVARSADRI 1 Department of Interior Architecture, Faculty of Architecture, Final University, Via Mersin 10, Girne, Turkey 2 Department of Interior Architecture, Faculty of Architecture, Eastern Mediterranean University, Via Mersin 10, Famagusta, Turkey Received 09 March 2020; accepted 04 November 2020 Abstract. The conflictions between homogeneity and universal values suggested by Modernism and traditional values re- sulted in a variety of ideas generated as a search for authenticity all over the world. Iran is known as one of the countries which imported the modern ideas directly to a society, which was still living with and respecting the traditional values. This challenge between the two seemingly conflicting poles of tradition and modernism resulted in three periods in the history of contemporary Iranian architecture. Now, it seems that Iranian architecture has entered to a new period regarding the interpretation of authenticity. Since novelty and relation with the past are known as the main indicators of the concept of authenticity, in this research it is tried to explore the ideas of seven pioneers of the new generation of architects in Iran around these concepts. These architects are amongst the most well-known young architects of Iran who have won more than 3 prizes in Memar (Architect) competition which is the most prestigious architectural competition in the country. To find out the interpretation of these architects about the concept of authenticity, inclusive interviews have been realized with these architects. Then, using recursive abstraction method, it is tried to find out the main points in definition of the concept of authenticity by each architect. In addition, some of the completed projects of theses architects have been visited and analyzed to find out the reflection of their ideas related to authenticity in their projects. Keywords: authenticity, Iranian architecture, novelty, relation with past, traditional architecture. Introduction concept of authenticity in the Iranian architecture and how it evolved throughout the 20th century have been Due to the radical rupture of modern architecture from investigated. As the last step of this research interviews traditions, variety of debates around authenticity and what have been realized with 7 successful Iranian architects is authentic architecture has been developed in various from the new generation and their works have been vis- countries. Iran was a country with rich traditions when it ited and analyzed to find out from a first-hand source inevitably encountered modernity. The challenge between how the new generation of architects perceive the con- modern and tradition resulted in different approaches in cept of authenticity and discover the difference of their various periods of time towards the concept of authentic- approach with the ones of the previous generations. To ity in this country. Looking for authenticity, three different decide about which architects can be the representatives/ periods can be detected in contemporary Iranian archi- pioneers of the new generation of architects in the coun- tecture up to the beginning of the 21st century. But now try, the architects who have won more than 3 prizes in a new generation of architects with different viewpoints Memar (Architect) award which is the most prestigious from their predecessors is emerging in Iran. This paper architectural competition in Iran have been selected. will try to find out how this new generation of architects These architects are: Reza Daneshmir, Alireza Taghaboni, looks at the concept of authenticity, the relation with the Rambod Eilkhani, Pouya Khazaeli, Mohammad Majidi, past and search for novelty. Ramin Mehdizadeh, and Arash Mozaffari. These archi- For this purpose at the first step a research have been tects’ works have been also introduced in recent volumes done on the concept of authenticity and its indicators. of very prestigious international journals as the pioneers Then in the light of these definitions the development of of Iranian architecture. *Corresponding author. E-mail: [email protected] Copyright © 2020 The Author(s). Published by Vilnius Gediminas Technical University This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unre- stricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Journal of Architecture and Urbanism, 2020, 44(2): 176–187 177 After this selection, in depth and inclusive interviews architecture after modernism. However, it was not that were carried on with each of these architects. Open ended simple to be in relation with past while creating some- questions regarding the concept of authenticity were used in thing new. After all, it was not the taste modifications, these interviews. As the second step of the research using which changed the architecture, but the changes in life- recursive abstraction method, the main points related to au- style, attitudes and the public culture since architecture is thenticity and its two main indicators (novelty and relation the expression of what has been transformed from past to with the past) have been extracted to be used in the analy- present time and it has to carry all those memories and sis of their architectural works. In this article as a qualitative emotions in order to make relation with the people of its research, a summary of all interviews, including the main society (Bavar, 2008). It can be acclaimed that there are approaches of each of these architects is provided by coding two main approaches towards tradition. One is about re- them based on indicators of the concept of authenticity. Later, ferring to the principles and ideas ingrained in religious, a comparative table including the main points emphasized by natural and innate aspects of tradition and the other, is each of these architects in relation to two indicators of au- mostly about the terrestrial and material aspects of it thenticity have been prepared to find out the common points (Ahadi, 2011). in their approaches and its difference with the previous ones. The ideas of modern movement reached to Iran while the majority in society were still following traditional 1. Concept of authenticity values and had very traditional lifestyles. Thus, society witnessed a great challenge between the modern and To begin the discussion it is needed to define the concepts tradition’s values. Architecture was also affected by these of authenticity, which involves the reassessing of basis and conflictions, which resulted in formation of four distinct foundation of something in its origins. Porphyrios, names periods in contemporary Iranian architecture between the quality of being authentic as classical which is the tradi- 1920- today. This division is mostly based on the attitudes tion in a modern voice (Porphyrios, 1998). William Curtis of architects towards authenticity, which in modern ap- too sees this quality as a modern tradition, which can be proach has been defined as the challenge of modern ideas defined as new interpretation of age-old lessons (Curtis, and traditional terms. 1983). Gadamer mentions that we could recognize history In the first period of contemporary Iranian archi- because it has made us and we inherit its experiences and tecture from 1920 to1940 one can see the vast usage of also we base the foundations of our future on the situations traditional forms. As Mirmiran mentions, in this period past created for us (Warnke, 1987). Frampton also sup- the most important buildings were monumental govern- ports this idea where he points out that innovation can be mental ones designed by the foreign architects invited to achieved just through rereading, remarking and recollecting Iran. Thus in many of the works of architecture an imita- the traditions which can be revitalized just by the means of tion and direct use of historical architectural forms that innovation as a two way relation (Frampton, 1996). symbolized the magnificent Iranian history can be traced Proposing more richly new ideas it would be better (BaniMasoud, 2009). The main design principle in this to study what has been done before in order to become period has been following the forms of Iranian ancient familiar with the ideas of the predecessors otherwise it architecture. Figure 1 shows some examples of Iranian would be an architectural entity which is just about details ancient architecture and the usage of them in the works instead of principles which can result in beautiful individ- of the architects of this period. The place of tradition has ual parts while it doesn’t match with the whole (Kindler, been mainly defined as superficial and apparent repeti- 1974). Furthermore, Porphyrios in the book of Classical tion of elements, forms and motives used in the buildings Architecture mentioned that “An artist is said to be origi- of Achaemenid and Sassanid era (Mirmiran, 1999). This nal exactly when he takes up the challenge of tradition Iranian romantic historicism draws the attention of many and makes us see something more than we already know. historians, who may have had a nationalist interest in the Originality, and thus the modern itself, consist in this dis- presentation of an Iranian image in the architecture of this tance between the new and the model as the new employs period (Hasanpour et al., 2015). itself within tradition” (Porphyrios, 1998). The second generation of architects in Iran from 1940 Therefore, novelty and relation with past are both to1970s in search for an authentic Iranian architecture the foundations of being authentic while ignoring each used geometric patterns and forms of traditional archi- of them will takes us far from this concept. It has to be tecture in their works.
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