2019 On Site Review Report by Anna Grichting Solder 5457.IRA

Enghelab Street Rehabilitation ,

Architect Amir Anoushfar, Abdolazim Bahmanyar, Mohadeseh Mirderikvandi

Client Tehran Beautification Organization

Design 2016-ongoing

Completed 2017-ongoing

Enghelab Street Rehabilitation Tehran, Iran

I. Introduction

The project consists of the rehabilitation of old Tehran into a new public space along the cultural band of the Central Theatre – Opera House area of Enghelab Street, for a stretch of 2.4 kilometres. This thoroughfare is a historic east–west axis of Tehran, built along the former city walls, and a symbolic space of demonstrations and celebrations. Based on the 60-centimetre width of façade, 114 old buildings – including 54 of historical value – were restored using the dynamics of cultural participation by the property owners and users to initiate the process of rehabilitation of the façades, and to encourage preservation over demolition, with the continued maintenance of the buildings and façades. The rejuvenation of the façades (0.6 metres) has transformed the street’s appearance, acting as a catalyst for the regeneration of the whole buildings and blocks (60 metres) and the neighbourhood (600 metres), creating a comprehensive participative scheme using public and private investment. Since its completion, the scheme’s success has been demonstrated by the establishment of nine new cafés, six restaurants, a bakery, two theatres and a boutique hotel and it has activated a process of return to the centre by former businesses and new young enterpreneurs. The project has also improved relations and communications between citizens and the Municipality and it has opened a dialogue on urban landscape.

II. Contextual information

A. Brief historical background

The city of Tehran lies on the slope of the Alborz mountains, and its elevation ranges from 900 to 1,830 metres above sea level. The urban area covers 574 square kilometres and the metropolitan area is 1,748 square kilometres, and with a population of around 8.7 million in the city and 15 million in Greater Tehran, it is the most populous city in Iran and Western Asia. The capital has moved several times throughout history, with Tehran being established by the Qajar dynasty in 1796. Until the 1870s, the city was surrounded by a wall and consisted of a roofed bazaar and three main residential neighbourhoods – Oudlajan, Chale-Meydan and Sangelaj – where the majority resided. From the 1920s to the 1930s, under the rule of , large parts of the city were replaced with modern buildings influenced by classical Iranian architecture. With the street-widening act of 1933 and the demolishing of the city walls, the urban fabric began to change and many historic buildings were demolished to be replaced with wide straight avenues, resulting in intersecting cruciform streets that created large roundabouts, located on major public spaces such as the bazaar. The planning organisation of Iran in 1948 resulted in the first socio-economic development plan which failed to counter the unbalanced growth of Tehran, and was further accentuated with the 1962 land reforms that Reza Shah’s son, Mohammad Reza Shah, implemented under the “white revolution”. Throughout the 1960s and 1970s, modern buildings and ambitious projects continued to flourish. The problem of social exclusion was addressed in the first comprehensive plan of Tehran in 1968 which was marginalised by the 1979 Revolution and the subsequent Iran–Iraq War of 1980–1988, during which time Tehran was the target of repeated Scud missile attacks and air raids. The Azadi Tower, one of Teheran’s most prominent landmarks, was built in 1971 based on a design competition in commemoration of the 2,500th year of the foundation of the Imperial State of Iran. The rapidly growing metropolis continues to expand despite international economic sanctions. Recent landmark projects include the Aga Khan Award-winning project, the 270-metre pedestrian overpass of Tabiat Bridge designed by Leila Araghian, which was completed in 2014.

1 The Tehran Beautification Organization (or Ziba Sazi) was established in 1975. It is a non-governmental organisation affiliated to Tehran Municipality and seeks to improve the quality of urban life in the Iranian capital via promoting public culture and protecting the identity of the city through innovative and technical activities, including the rehabilitation of historical buildings, the preservation of cultural artefacts, the installation of public art and lighting, and the design of street furniture. Around the year 2003, there was a renewed interest in the study of the city centre of Tehran, and in 2007 several actions were undertaken by the Municipality to reclaim the city centre by improving the quality of the urban landscape and by seeking to make the urban core more attractive for inhabitants, businesses, users and tourists.

Enghelab Street is a major trunk route connecting Enghelab Square to Imam Hossein Square, from east to west of Tehran for a distance of 5 kilometres. The street’s full name is Enqelab-e Islami (Islamic Revolution Street) and it was named in honour of the Islamic Revolution of 1979. Its former name was Shah Reza Street after the founder of the Pahlavi dynasty. Built along the former fortifications, the street was the limit betweent the historical centre and the new faubourgs and gradually started to host new institutions for the city. The central section of the avenue plays an important role in the historical memory of the city with landmarks such as Tehran University, Alborz College, Daneshjoo Park, the City Theatre, Roudaki Hall and Valiasr Junction. It remains a space of celebrations, demonstrations and protests: known for the events that led to the , it is also considered a place for social and civic interactions. During the Pahlavi 1 period, dn 1933, the first urbanisation regulations on “modification of pavements and street” were introduced and the 12 Naseri gates and surrounding walls were destroyed. By filling trenches, new streets in four sides of the city were constructed, and they were named Shahreza (current Enghelab) in the north of Tehran, Shoush in the south, Shahnaz (17 Shahrivar currently) in the east and 30-Meters in the west. New areas in the city were expanded around the east–west axis of Enghelab Street and the north–south axis of Ferdowsi Street. The majority of official, public and cultural buildings likes universities, hospitals, foreign embassies etc. are located along and around these streets. During the Pahlavi 2 period, the city expansion continued between 1941 and 1953 along the main and old part of the city (in the vicinity of Shahreza – now Enghelab – Street). The aristocracy started to build on Enghelab and land and subsidies were given to the Persian minorities – Jews, Zoroastrians, Christians – to develop and build along the avenue. A metro and public transit system had been planned by the Shah but was not realised until much later. A flyover bridge named College Bridge, after Alborz College, was built in the middle of the street, initially as temporary infrastructure for an international sports event in 2015, and was never demolished. It has been the location of many protests as recently as 2018. There have also been some projects to transform the space under the bridge (https://shavmad.com/portfolio/college-bridge-underspace-development/). Today, the aristocracy and new urban rich have moved to the north of Tehran, and the social fabric has been modified. Many buildings were, and still are, abandoned or used as storage spaces, and the street façades have been masked by commercial signs and cooling blocks, and have suffered from intense pollution. After the Iranian Revolution in 1979, this area has not witnessed any development over the past 30 years.

B. Local architectural character, including prevalent forms and materials

Enghelab Street is a symbol of the current modern architectural era in Iran. Enghelab means “Avenue of the Revolution”, as Imam Khomeiny came down this avenue, and today it is used for demonstrations against the hijab. The buildings built on this street were the first high-rise buildings in Tehran and are used as apartments and flats. Most of them have balconies which did not exist during the Qajar period due to the introverted architectural style that then prevailed. It can be said that the Pahlavi period marked the advent of a more extroverted architectural style in Iran in which people enjoyed balconies and had access to the outdoors. The buildings existing on Enghelab Street can be categorised into several groups based on their materials, which include stone, mosaics, washed cement and bricks. Brick buildings were mostly built in the Pahlavi 1 period between 1926 and 1941, while cement buildings were built in Vartan architectural style

2 between 1941 and 1978. Stone buildings were designed in the Pahlavi 2 period in modern style. From the structural aspect, buildings are classified into three groups:

• Buildings made of masonry materials without any particular structure. In these buildings, erected in the Pahlavi 1 period, the walls bear the weight of the roofs, or a wooden structure may be seen at times. Roofs are sloped with Iranian wooden trusses. • Buildings with load-bearing walls in which wooden beams are replaced by metal ones. In these buildings roofs are arched with metal beams. • Buildings with metal structures.

C. Climatic conditions

Tehran features a cold semi-arid climate which is largely defined by its geographic location, with the towering Alborz mountains to its north and the country’s central desert to the south. It can be generally described as mild in spring and autumn, hot and dry in summer, cold and wet in winter. Because the city is large with significant differences in elevation among various districts, the weather is often cooler in the hilly north than in the flat southern part of Tehran. For instance, the 17.3-kilometre runs from Tehran’s railway station at 1,117 metres above sea level in the south of the city to Square at 1712.6 metres above sea level in the north. However, the elevation can even rise up to 2,000 metres at the far end of the neighbourhood in northern Tehran. Enghelab Street runs through the city from east to west, and is situated at an altitude ranging from 1,182 metres in the west to 1,102 metres at the east of the axis. The project area is located at between 1,195 and 1,200 metres above sea level. Tehran has seen an increase in relative humidity and annual precipitation since the beginning of the 21st century. This is most likely because of the afforestation projects, which also include expanding parks and lakes. The northern parts of Tehran are still more lush than the southern parts. Neverthless, the air in Tehran is amongst the most polluted in the world. There are more than 17 million vehicular trips per day in Tehran, and many of the vehicles have outdated technology. Topography and climate add to the pollution problem as the high altitude and the Alborz mountain range traps polluted air. Temperature inversion, a phenomenon particularly occurring during the winter months, prevents the pollutants from being diluted.

D. Immediate surroundings of the site, including architectural character, access, landscaping, etc.

The segment of Enghelab Avenue in which the project is implemented is surrounded by a number of official and public buildings like universities, hospitals, foreign embassies and cultural institutions. For example, the City Theater situated in the Daneshjoo Park, and Vadhat Hall, one of the oldest theatres in Tehran with Hafez Hall located opposite, which are located in Shariar Street parallel to Enghelhab Street.The neighbourhoods around Enghelab have a multicultural and international character, and host several international embassies – the Italian Embassy, the French Embassy, the former Lebanese Embassy, etc. There are a significant number of Christian churches, as well as synagogues and a Zoroastrian fire temple in the vicinity. At the western end of the segment, there is Ferdowsi Square, named after the famous Persian poet, and many street names have cultural references such as Hafez Avenue. Several metro stations are positioned along Enghelab Street, which is also served by a bus, and new bicylcle hire areas have appeared recently along the street offering free bicycles for loan. Otherwise, like most of Tehran, the mode of transport is the private car: there is dense traffic along Enghelab Street and the surrounding neighbourhoods throughout most of the day, and the street is prioritised for vehicule flow. The street and surrounds are landscaped with trees, in more or less good health, depending on the area and street conditions. The pavement and street furniture, as well as the organisation of waste bins, needs to be improved, and this is part of the revitalisation project of the public spaces and buildings of Enghelab Street which is in the process of being carried out.

3 E Topography of the project site

Enghelab Street runs from east to west of the city, and is situated at an altitude ranging from 1,182 metres in the west to 1,102 metres at the east of the axis. The project area is located between 1,195 and 1,200 meters above sea level.

III. Programme

A. History of the inception of the project; how the project was initiated

In 2003, the Municipality began to take an interest in the city centre and the political authorities realised the need to revive its social character and economic life. They made available a budget for this and the various municipal bodies, linked to the urban planning and development department, were charged with conducting studies and engaging actions after validation. The project is a convergence of the Municipality’s need to regenerate the urban centre of Tehran and architect Amir Anoushfar’s work and research on “parasitic architecture”. This began in 2009 with the presentation by Professor Jean-Michel Coget of the Architectural Department of Paris-La-Villette / Université Paris 8 (UP8) of a photographic survey of “parasitic architecture”, at a conference at Mansouri University, Constantin City, Algeria on the topic of “Sustainable Architecture and City Façades”. The paper codified and analysed the types of parasites on architectural façades, and how to communicate these to municipalities in order to engage action. It was followed in the same year by training workshops and conferences – at the Paris conference with Jean-Michel Cogent in Paris-La- Villette / UP8, and at the Iranian Architecture conference organised by UNESCO, the Tehran Beautification Organization and engineer Beheshti. A photography album of city parasites called Parasitecture was published by architect Amir Anoushfar to accompany a photography exhibition in Paris-La-Villete. In 2011, the Tehran conference, in collaboration with Jean-Michel Coget and the Tehran Beautification Organization, was held on the topic of “City Parasites” which launched the project and studies for the de-parasiting of façades in Tehran. A book Deparasiting Urban Landscapes: Transforming Urban Realm was published in 2013 by the Tehran Beautification Organization, which is a manual of theory and applications on how to deparasite urban façades and landscapes. The book includes international case studies and research on regulations and policy that are applied to urban façades, as well as who applies them. It also presents a study of Iranian laws and policies that relate to urban realm and public space, and how these laws are enforced and applied.

In 2014, the first projects were initiated on the historical axes in the city with Naser-Khosrow Street Project (eyesores removal) and Beheshti Street (Karaj) Project (eyesores removal). There were a total of five projects, but they were not very well co-ordinated with the Municipality or the owners and users, and the results are not convincing. In 2015, architect Amir Anoushfar was asked by the Director of the Tehran Beautification Organization to submit a method and put together a team of architects to implement the project. Anoushfar and his team undertook a study and urban analysis of the central part of Enghelab Street, as the parts left and right had already been started but not very successfully. The project started with three buildings, as samples to show the owners and inhabitants what the result of the interventions could be. After the three initial projects, work began on 100 units along Enghelab Street – the 60-centimetre operation (façades) and the 60-metre operation (buildings and plots). The year 2017 marked the end of the Phase 1 operation (60 centimetres and 60 metres) and the start of the Phase 2 operation in 600-metre local areas.

4 B. How were the architects and specialists chosen?

The Tehran Beautification Organization in charge of “the quality of the urban environment” was responsible for several actions on the centre, working with expert consultants such as architect Amir Anoushfar who contributed his local knowledge and international experience. Anoushfar was previously engaged as a consultant for the organisation in the restoration/ renovation of the Naser-Khosrow area. Naser-Khosrow is the oldest axis of Tehran, adjacent to the Enghelab axis. His architectural refurbishment work sought to relate the historical context to present times. Amir Anoushfar was born 1951 in Tehran in the vicinity of Enghelab Street and he earned his high-school diploma from the Alborz School along the same street, completing his degree in Architecture and Urban Design at Tehran Meli (Beheshti) University in 1977. He wrote his thesis, on “The role of Art in Architecture”, at the École Nationale Supérieure d’Architecture de Paris-Belleville. Thereafter he earned his PhD from Paris’s La Sorbonne University.

C. General programme objectives

The project is run by the management of the Tehran Beautification Organization, in affiliation with the Tehran Municipality, with the aim of restoring the urban landscape and historical facades of the Enghelab Street axis and creating a vibrant public space in the cultural band between Ferdowsi Square and Valiasr Junction. It includes the renovation and rehabilitation of historical buildings and objects of architectural value, and the removal of parasites and eyesores from the façades. Activities intended to be done in this project include removing cooling channels and air-conditioning condensers, organising electrical and cable wiring, removing uneven and disorganised shop signs, redesigning and installing new exclusive signage for the area, the repair and/or replacement of doors and damaged windows, the replacement of old shutters, and the removal of unauthorised protrusions and extensions. This regeneration of the façades facing Enghelab Street is intended as a catalyst for further urban regeneration of the street, the whole block and the adjoining neighbourhoods. The owners and tenants who agree to the renovation of their façades are encouraged to activate the commercial spaces and also to change the activity or land use, to create more vibrant and lucrative businesses and more compelling and attractive spaces.

D. Functional requirements (i.e. architect’s brief)

• Extracting drawings and overall dividing of the axis into north and south sections. • Dividing and splitting land in each block along with coding. • Identifying and coding of inappropriate and excessive parts in each land parcel and building. • Identifying historical urban fabric and architecture. • Analysis of types of buildings, style, height, condition, architectural quality, etc. • Identifying structural, visual, mechanical and electrical damage to valuable buildings and suggesting solutions for renovation and rehabilitation. • Surveying all the façades of buildings along the axis. • Designing vertical and horizontal boards for official and commercial units in the axis using patterns from architectural elements from the buildings in the area. • Presenting pre-rehabilitation design as well as post-design to landlords, receiving their co-operation agreement and the overall form to contractors. • Providing panoramic pictures to show the overall effect of the façade rehabilitation. • Providing catalogues and brochures to introduce the project to owners and to communicate with the public. • Engaging with the owners and users to establish agreements for the façade renovations, and for rehabililation of the buildings and upgrading of businesses and activities.

5 IV. Description

A. Building data: volumetry, massing, number of units, surface in square metres, etc.

The project is located on a portion of Enghelab Street that measures 1.2 kilometres in length, along each side of the street. The street has 114 units and contains 54 historical, cultural and/or architecturally interesting buildings. The whole surface area of the façades along the axis is 13,221 square metres on the northern side and 14,185 square metres on the southern side, which adds up to a total of 27,406 square metres.

B. Evolution of design concepts

The design concept evolved from the “parasitic architecture” theory and analysis and is based on a theoretical format and strategy defined by a progression of urban scales from the façade scale (60 centimetres) to the building and plot scale (60 metres) to the neighbourhood scale (600 metres). The complete project submitted for the Award is the first phase corresponding to 60 centimetres and 60 metres, completed in 2017.

1. Response to physical constraints – siting, climate, plot ratios, etc.

Studies undertaken by architect Amir Anoushfar on Enghelab Street revealed the disrepair of some abandoned sectors, occupied by storage sites, and after a diagnosis, renovations were proposed for new activities, especially cultural and social. After two years of studies and observations, the architects proposed to the Municipality to tackle the parasites on the façades. It was still necessary here to define the term “parasite”: signs, air-conditioning units, water stains, visible cables, etc. Renovation of the old buildings was favoured over their demolition and replacement with large modern buildings, as was the improvement of public spaces and pavements in front of the buildlings.

2. Response to user requirements; spatial organisation

It was necessary to convince the politicians, property owners, businesses and users, and an important effort of communication and education was necessary to develop and implement the project. An architecture office was established on site, to provide a space and facilitate communication with the community and property owners. The office collected information on each block and parcel, including owners, infrastructure, electricity, etc., as this information was not readily available. After having identified the owners, the architects carried out a thorough community consultation involving 1,000 invitations and 300 hours of meetings. This resulted in numerous plans, drawings and some 200 agreements with the property owners. Owners were thus encouraged to collaborate in the renovation process and maintain their buildings thereafter, favouring preservation over demolition. The three sample buildings were used as a means to communicate the future results to the community.

3. Purely formal aspects – massing, articulation of façades, decorative features, use of traditional motifs, etc.

Each building is analysed for its architectural quality and historical style, and if necessary, buildings of historical significance are classified.

The façades are photographed and surveyed and drawn in ArchiCAD.

The diagnosis of the façade and the coding of the parasitic elements are identified. A series of interventions and solutions to remediate them are proposed. This results in a technical document for the deparasiting and façade renovation with an estimated cost.

6 Techniques and materials are proposed for the renovation, after a detailed analysis of the façade construction types and original materials.

A project and drawing of the future renovated façade is drafted, with the parasites removed and the original architectural elements renovated and reconstructed.

For the signage, if the shop signs and storefronts are of historical interest or have a unique design quality, they are preserved. Otherwise, standard signage is designed using architectural elements and motifs inspired by the existing façades.

A final document is drafted to negotiate the project with each individual owner and/or inhabitant or co- proprieters, for each building. This results in a signed agreement.

4. Landscaping

As part of the façade renovations, some interventions in the urban landscape of the pavement and street are also implemented. The Municipality is working on cleaning the bollards, improving the location and aesthetics of the waste bins, and installing new urban furniture on the pavements to improve the urban landscape of Enghelab Street. The urban furniture including the benches and telephone booths have beed redesigned. The architects design new lighting for the storefronts and buildings, especially the cafés, and this improves security at night and allows them to stay open late. This will be continued in the further phases of the project and will include lighting projects for the street and significant buildings. . C. Structure, materials, technology

1. Structural systems; in restoration projects, structural interventions

The project is focused on façade restoration, and the structural interventions are minor. The variety of building periods, types and styles have different structural sytems including concrete, brick and steel. The architects worked with engineers to evaluate any necessary interventions on the façades, but these were minor.

2. Materials

Structural members: To improve buildings in this area the following structural members have been used: load-bearing walls, sloped roofs, stone, concrete, traditional Iranian roofs consisting of metal beams and bricks.

Infill materials:These cover quite a wide range of materials such as stone, brick, adobe and mud.

Renderings and finishes: Finishing was carried out using materials like brick, decorative plaster and wood on buildings dating to the years between 1921 to 1941, and washed cement, in-situ mosaic, glass, talc and aluminium.

Construction technology: Lime-based mortar as well as stone was used as a basis. The important role of load-bearing walls can be seen in these buildings. It was for the first time that traditional roofs consisting of metal or wooden beams were used for multi-storey buildings in this street. Wooden doors and balconies were also used. On façades, the washed cement technique and in-situ mosaic were introduced to the street’s post-1941 buildings.

7 Building services, site utilities: The architects and project office worked with the different utilities companies and owners to remove the utilities present on the façade such as electricity cables, water pipes, air-conditioning units etc. and to find more aesthetic and efficient solutions.

D. Origin of:

1. Technology

It is taken from Iran and Europe.

2. Materials

Materials are used from sources in Iran. Despite the embargo, due to its rich natural ressources and technology, Iran is able to produce all the materials for construction.

3. Labour force

The entire labour force is from Iran.

4. Professionals

Architects: Iran Contractors: Iran Consultants: Iran and Europe. The initial study on parasitic architecture was carried out with a French architect.

V. Construction schedule and costs

A. History of project design and implementation, with dates

Commission of the project and urban analysis: 2015 Design and implementation strategy; consultation with owners and users: 2016 Beginning of construction work: 2016 End of construction work Phase 1 (60 centimetres and 60 metres) and occupancy: 2017 Beginning of Phase 2 (600 metres) and other urban axis: 2018

B. Total costs and main sources of financing

1,800,000 USD total cost. Financed by the Tehran Beautification Organization (which belongs to Tehran Municipality): • 60 centimetres – façades: 90% of the costs were covered by the Municipality and 10% by the owners • 60 metres – buildings and blocks: 50% is covered by the Municipality and 50% by the owners • 600 metres – neighbourhoods: 30% is covered by the Municipality and 70% by the owners

8 C. Comparative costs (if relevant)

The city has set an example by launching the first project entirely financed by public funds (the 60-centimetre phase). Little by little, the results have proved convincing and the owners are becoming more and more involved. For the treatment of shop windows, the city finances 50% but the merchant does not have to advance his quota immediately. Staggered repayments are made by including annuities on its general taxes. Trustees have been set up to manage the common areas – a practice which did not exist before. These trustees are also responsible for monitoring the non-return of parasites. All these measures were born of a consultation between all parties, including architects and building companies, leading to a new approach to the urban landscape: it is a small revolution in itself.

D. Qualitative analysis of costs (per square metre, per unit, etc.)

Depending on the date of construction, the façade type and the amount of reinforcement necessary or durability, the costs have varied. In summary, it can be stated that for buildings with brick façades the cost is about 110 USD/m2, for those with washed cement façades it is 60 USD/m2 and for those with modern façades it is 36 USD/m2. It must be said that modern façades were mostly revitalised by cleaning and washing.

The devaluation of the Iranian rial over the course of the project was a challenge for its completion. The fluctuating rate of exchange affected the total budget and had an impact on the cost of construction materials, making construction companies reluctant to finish the project.

E. Maintenance costs (heating, cooling, etc.)

The façades are equipped and redesigned with nano-materials to reduce the pollution that is absorbed. This will help the process of maintenance and cleaning in the future.

VI. Technical assessment

A. Functional assessment (use)

Aside from the aesthetic improvement due to the restoration of façades, there is a marked improvement in the public space of Enghelab Street. It is now popular at night due to the new cultural spaces and the lighting which make it more attractive and safe. Between the City Theater and the Opera House, 12 cafés have been set up in a style the locals call “new wave”. A private theatre will see the day as well in one of the abandoned buildings, and two small museums are being planned, including one dedicated to old cars in an old garage. The Shahr e Ketab chain of booksellers will also soon open a department store in one of the restored 1930s buildings.

Regarding the façade parasites, there are a few cases where the owners still need to update and modify the signage according to the project and the agreement made with the Municipality. There are also cases where some air-conditioning units have been repositioned on the façade, often in the side façade. This is part of the ongoing process that the project architects and Municipality are addressing, of monitoring the projects and ensuring that the agreements are respected.

9 B. Climatic performance, lighting, natural and/or mechanical ventilation, sun control, insect control, acoustics, orientation, etc.; description of systems developed and utilised

The deparasiting of the façades resulted in the removal of a large number of air-conditioning units from them, which in many cases improved the natural lighting of the interior spaces. The project did not address climatic performance, as the buildings pre-existed the air-conditioning units and the aim was to restore the orginial façades. However, in replacing windows, two double-glazed UPVC windows have been used to reduce heating and cooling costs and improve thermal and acoustic insultation. The architects have hidden air-conditioners inside the advertisement boards and have used many architectural solutions to hide them in an appropriate place out of view.

One of the problems observed was the reappearance of cooling units on the street frontages. The architecture team and Municipilaty realise that there is a need to regulate the façades, as well as to propose alternative systems to cool the buildings so as to avoid the re-parasiting of the façades.

C. Response to treatment of water and rainfall; discharge of water, and retention and release system(s), if any

• All the façades have been equipped with rainwater discharge pipes. • Sloped roofs have been rehabilitated and restored, and roof insulation added. • The slope of balconies has been modified, and they have been connected to rainwater discharge pipes (downspouts).

D. Environmental response; adaptation to the natural environment; adaptation to native flora and fauna

In the 600-metre phase, landscape design has been carried out. However, it is not part of this Award submission as it is in progress.

E. Choice of materials, level of technology

A very systematic and detailed diagnosis and survey to analyse the existing façade materials was undertaken by the architects. For the renovation of façades, great care was taken to recompose them using the same or similar materials, sometimes with more eco-friendly solutions than the original materials. Natural materials, excluding plastic and aluminium, were employed wherever possible. Nanotechnology was used on the facades – for example, on the brick ones, to protect them and slow down the process of ageing and the absorption of pollution.

F. Response to, and planning for, emergency situations, i.e. natural disasters, floods, winds, fires, earthquakes, etc.

• Façades and balconies which were on the verge of collapse have been strengthened and reinforced. • All elements and accessories on the façades which were likely to fall off were fixed or relocated. • The facades were reinforced. • A report for each dangerous building was sent to the committee of earthquake vulnerability. • In some projects in the 600-metre zone, for example the Hanna Boutique Hotel, the architects created new foundations under the historical building dating from the 1940s to add a structure to resist earthquakes.

10 G. Ageing and maintenance problems

The architects have proposed that a committee be created for the project and the neighbourhood to be managed by the users and community – in essence, a community of co-proprieters. They are putting in place a system to prevent them from adding any eyesores (parasites) or causing intrusion and to find ways to enforce the regulations on the façades.

H. Design features: massing and volume, articulation of spaces, integration into the site (topography and neighbouring buildings)

The project does not intervene on the massing and volume of the buildings. However, the façades are brought back to their original masses, with extrusions and additions removed to reinstate the alignments. The removal of parasites such as air-conditioning units, satellite dishes and cables restores the façades to their original volumes. In some cases, where a modern tower façade clashes with adjoining historical buildings, a new façade has been proposed to better integrate the building into the street.

In the interior design of some of the new businesses such as cafés and offices, there is a contemporary style with a lot of local craftsmanship as well as the recycling of materials. For example, one café uses recycled doors from American military infrastructure.

I. Impact of the project on the site, in terms of increased circulation or vehicular movement, changes required for infrastructure (particularly for projects in high-density areas), etc.

• The project has improved the pavements and modified the electrical infrastructure along the street. • The project has provided façade lighting for some buildings which lights the pavement and surrounding space. • Additionally, the project has installed bins, provided urban furniture, cleaned or installed new bollards, and provided benches and flower boxes for some cafés. • The presence of metro stations and BRT (bus rapid transit) lanes as well as bicycle stations is encouraging people to use clean transport in the city to access the project area. The new public bicycle stations are placed in the Valiasr Junction and cater for all areas of Tehran. • There are still issues with a high density of cars and lack of parking spaces.

J. Durability and long-term viability of the project

As mentioned above, the challenge once the façade renovations are completed is to keep them free from parasites, and also to make sure the owners complete the project by changing the advertising boards. Aside from this, the project has induced a regeneration process which is having a ripple effect in the neighbourhood, and, with the support of the Municipality, and the public-private funding model, has demonstrated its success and durability. Since the completion of the façades in 2017, a number cultural and social businesses have opened in the street, including new cafés and cultural centres, and many owners are approaching the Municipality and the architects to begin renovation of their abandoned buildlings in the area.

K. Ease and appropriateness of furnishings; interior design and furnishing

The design team has held many consultation meetings with users or owners of some places such as Fam Sheek Café, Hi Terhan Hostel, Bamdad Café, Ambiance Café and Red Café to offer advice regarding the interior design. The designs are contemporary, but also use a lot of recycled materials and materials that

11 were already on the site and recall the memory or former use of the spaces. With the consultation and participative process of the façade project, the architects have been increasingly approached by the owners to give architectural advice for the rehabilitation of buildings and/or the transformation of their use.

VII. Users

A. Description of those who use or benefit from the project (e.g. income level, socio-cultural profile, etc.)

There is a majority of business owners, but there are some residential units. The businesses includes shops, cafés, banks and insurance companies as well as commercial offices. Before the renovation of the façades, there were are lot of marginal people and drug addicts in the area, and they have now left since the project has been completed. Former businesses are coming back – such as the Rolex company that had a store there which was abandoned for years. They had moved to the trendier and high-end northern part of Tehran. As real-estate prices are rising, there is the issue of gentrification, which has not been fully addressed at this stage of the project and it is not easy to predict how the social fabric will change. However, the project aims to bring social and cultural activities to the area, and many of the cafés are frequented by people from the surrounding theatres, for example.

As Enghelab Street remains a very symbolic axis and the segment of the project is still today the location of demonstrations and celebrations, and as it also adjoins numerous theatres and cultural spaces, it has a large number of different types of users at different moments of the day, and also for various occasions.

B. Response to project by clients, users, community, etc.

1. What do architectural professionals and the cultural “intelligentsia” think about the project?

The project is appreciated as it has not only revived and restored the architecture of a historic avenue, but also participated in a new urban culture of participation as well as introducing a form of public-private financing of urban renewal projects in Tehran. Artists were the first to come back to Enghelab and,as in many gentrification projects, are at the origin of the regeneration. Consequently, the real-estate prices are rising, and could lead to these populations with lower incomes and profit margins eventually having to move out. Investors are continuing to be interested in investing in the area, and some young investors and architects are also coming with very holistic and integrated projects to conserve both the physical and heritage fabric as well as the social fabric of the area, and to propose strategies and interventions that can mitigate the effects of gentrification and include mixed-use and mixed-income solutions. For example, the Hanna Boutique Hotel, by architect Mahsa Majidi’s practice Persian Garden Studio – building number 2 on Lolagar Alley – was constructed in 1930 and is one of Tehran’s first examples of outward-looking architecture. The building was purchased by Persian Garden Studio in 2016. One of the first steps taken in the restoration of the project was to identify every layer of this 80-year-old building. During the restoration process the designers attempted to retain every discovered layer in its original form.

Nasrollah Abadian, the mayor of Tehran’s District 11, has remarked: “Given their history, most of these structures have lost their original function. We need to try and find new functions for them that meet the needs of the area. There are six buildings on Lolagar Alley that are all architecturally important. Our goal is to turn this street into one of Tehran’s most important streets within the next few years.” He also mentioned that there was a need for other similar projects in the district: “Projects like Hanna Boutique Hotel can be

12 an energising motor for District 11. My suggestion is to come up with incentives to attract investors to participate in other similar projects in Tehran’s historic districts.”

Tehran’s mayor, Pirouz Hanachi, mentioned that all the city’s residents will benefit from urban rehabilitation projects, “If the private sector invests in existing valuable areas of Tehran, the city’s management systems will support it. In this way the city’s management systems will be able to retain cultural, artistic and historic features of the city that define it.” Hanachi also mentioned that Hanna Boutique Hotel is located in one of Tehran’s most unique alleys: “This boutique hotel is different from other hotels in the city. Buildings such as this, which were designed by Tehran’s first generation of architects, are treated as tourist attractions in other parts of the world. Such landmarks can be interesting for Iranian and international tourists alike. It is the policy of the Municipality of Tehran to support projects like this.”

Mahsa Majidi, the founder of the Hanna Boutique Hotel and principal at Persian Garden Studio, mentioned during that she was pleased that the project could be inaugurated at this period in Tehran and said, “It is a happy occasion that Mr Hanachi, Tehran’s Mayor, has such great interest in urban rehabilitation. The mayor of District 11 is also in agreement with him on urban rehabilitation projects. At the same time, since most of the public buildings in Tehran’s historic districts are registered as cultural heritage, it is important that the head of the Cultural Heritage Organization is also in agreement with the rehabilitation of these projects. The concurrence of these events makes it hopeful that similar projects will be constructed in the heart of Tehran, returning life to these areas.”

Ahmad Masjed-Jamei, a member of the Municipality and former Minister of Culture, pointed out that there has been a recent rise of interest in Iranian history, heritage and culture. He continued, “When investments take place in these places it means there is a social acceptance for these projects. A return to these places is wonderful.”

Hamed Rezaei – former Technical Director of the Tehran Beautification Organization – says, “With so many cafés opened in the area, I think the street has become a public space where people can gather and discuss. And this is what our society needed. These cafés play an important role. The street enables discussion between citizens.”

Yasser Jafari, current Technical Director of the Tehran Beautification Organization, comments: “As a result of this phenomenon, all over the city people ask for this type of beautification, both the city management and the citizens.”

This example of democratic planning invested a lot of effort in communication with the citizens and Municipality through meetings, leaflets, before-and-after visualisations and a sample of three buildlings to demonstrate the project to the owners and users. According to Project Architect Amir Anoushfar, municipalities should make legislative regulations to prevent the parasiting of façades, and continue to train professional groups in this type of rehabilitation and restoration, and also support citizens and communities to participate in the creation and maintenance of public spaces. Structures for local community neighbourhood management could be put in place to develop and maintain public spaces and oversee its de-parasiting.

Anoushfar adds: “We have also set up trustees to manage the common areas. It did not exist before. These trustees are also responsible for monitoring the non-return of parasites. All these measures were born of a consultation between all parties, including architects and building companies to lead to a new approach to the urban landscape: it is a small revolution in itself. Reflection conducted with international experts can take advantage of other experiences.”

13 2. What is the popular reaction to the project?

It is unanimously agreed that the project has made Enghelab Street and the neighbourhood safer and more attractive. Through the project, business owners have improved their façades and signage, and also in some cases transformed their activities to more socio-cultural businesses such as cafés. It has also created a new culture of urban participation, and opened up communication between citizens, business owners and the Municipality. They have more trust in the work of the Municipality, and they feel a certain ownership of the project as they have been consulted and involved in its development. There is a sense of belonging and also desire to protect and continue the urban landscape improvements in the area. The project instigates a community spirit and a type of citizenry monitoring over the public arenas. The project also has an educational componenent in the process of implementation, the documents produced, and the workshops and meetings, and the population has come to understand and appreciate the historical value of the buildings and their façades, and how they contribute to creating a more vibrant avenue and public space, and therefore improving quality of life as well as business revenues. Rasoul Mohammady – a businessman and owner – says: “When we bought this building we wanted to demolish it to build a new one but later, when we understood the rehabilitation and reuse scheme of the area, we changed our mind. We restored the house into a hostel and we saw how beautiful it became. Financially, it was beneficial.”

3. What do neighbours and those in the immediate vicinity think about the project?

The new cafés and cultural spaces as well as the improvement of the urban space and increased safety is creating a new space of interaction for the cultural and social communities. The existing and historical heritage is being valued, while new innovative industries and aesthetics are also welcomed. Artists and young entrepreneurs are attracted to this area, and are part of the community that are making it more vibrant and attractive to investors. The Enghelab Street rehabilitation project is seen as a small incremental change towards a better Tehran and has a positive effect on citizen engagement with the area. It has drawn many newcomers there, including young startups like Peeyade, founded by Lena Vafaey, that occupies one of the historic modernist buildings on Enghelab Street. Peeyade (www.peeyade.com; instagram.com/peeyade; facebook.com/peeyade) is a digital urban platform (website and app) which recommends leisure activities to locals and whose mission is to create, increase and optimise the connection between citizens and cities, by allowing locals to efficiently plan their free time with urban leisure activities found on our platform. Their long-term vision is to be able to optimise and increase this connection by creating data analytics services that enable data-driven urban design.

According to Lena Vafaey, gentrification in Tehran happened almost 5–6 years ago, and was a citizen- fuelled movement. Some locals, mostly those in the artistic segments, decided to move their homes and galleries to the centre and were soon accompanied by cafés and cultural hubs. After a while the Municipality started paying attention to this change and supporting and encouraging it, and it has not yet reached its peak. Vafaey still has not seen any non-artist locals migrate to the centre, which shows it is still serving a niche market. She supports this movement, and does recognise its downsides, but regardless of negative affects she thinks the centre has much to offer, in the sense of both a well-designed urban landscape and a well-kept culture: “I would like to see it open up to the rest of the city and influence it.”

14 VIII. Persons involved

A. Identification of project personnel and their roles in the project (e.g. client, architect, planner, consultant, craftsmen, etc.)

Client: Hamed Rezaei, Tehran Beautification Organization Mohammad Ebrahimianfar, Tehran Beautification Organization Yasser Jafari, Tehran Beautification Organisation

Architect: Amir Masoud Anoushfar, IWAN Group Abdolazim Bahmanyar, IWAN Group Mohadeseh Mirderikvandi

Contractor: Mohammad Iranshahi, Abnieh Part Boom Mahdi Taghizade, Saye Saze Foladin Sina Madadi, Bana Chideman Parsian Hossein Zarnani, Rahgoshayan Toran Hamid Reza Molavi, Kazhal

IX. Bibliography

List of publications

• Amir Masoud Anoushfar, Photograph book (Parasitectures), for exhibition in UP8 Paris-La-Villette School of Architecture, Paris, 2010 • Amir Masoud Anoushfar and Maryam Sabzevari, Catalogue Book of Urban Parasite in Tehran, Tehran Beautification Organization of Tehran Municipality, 2012 • Amir Masoud Anoushfar and Maryam Sabzevari, Manual Book; Theory of Removing Visual Parasites, Tehran Beautification Organization of Tehran Municipality, 2013 • Amir Masoud Anoushfar, Manual of Workshop for Urban Visual Parasites, Tehran Beautification Organization of Tehran Municipality, 2013 • Amir Masoud Anoushfar and Jean-Michel Coget, Manual of Workshop Parasitecture, Tehran Beautification Organization of Tehran Municipality, 2014 • Maryam Gholami and Amir Masoud Anoushfar, article in Angah magazine, Enghelab edition, Angah Publication, 2017 • Service and Development Department of Tehran Beautification Organization,The Social Influence after Renovation and Management of Urban Façades in Tehran, Tehran Beautification Organization of Tehran Municipality, 2018 • Jean Claude Voisin, “About Enghelab Street”, Tehran-Paris magazine, 2017

Anna Grichting Solder May 2019

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This project was led by the management of Tehran Beautification Organization together with Tehran municipality, in order to ornament the city and remove eyesores in some parts of the Enghelab Street axis, one of Tehran’s main trunk road. The street’s full name is Enqelab-e Islami (Islamic Revolution Street) and it was named in honour of the Islamic Revolution of 1979. Its former name was Shah Reza Street after Rezā Shāh, the founder of the Pahlavi Dynasty.

The street is approximately 5 kilometres long. The revitalization project focuses on about half of it, as the works were undertaken on a stretch of 2.4 kilometres. The project was discussed in close coordination with the owners and tenants, who were informed of its details and implications and were also invited to sign a formal agreement.

Coordination efforts were also made with different organizations and organs including banks, municipalities, officials, insurance companies and universities. The project’s area is located between Ferdowsi Square and Valiasr junction. It seeked to renovate and rehabilitate historical buildings and valuable architectural structures, as well as remove decayed and decrepit infrastructures.

Cooling channels and air conditioning condensers were removed. Wiring was cleaned up and organized. Doors were repaired or replaced, along with damaged windows and old shutters, which received a fresh coat of paint. The scruffy façades were cleaned up and painted over, changing the atmosphere of the area completely.

Some of the metalwork was in too bad condition to be repaired and was replaced.

The project aims to improve the quality of urban spaces by setting up benches and lighting along the street, allowing pedestrians to sit and enjoy the revitalized area. Old bollards were cleaned and new ones installed, keeping cars out of certain pedestrian areas. Uneven and disorganized store signs were removed and new ones were put up instead. Each one was specifically designed to fit the building’s ornamental identity.

Since the works began, 9 cafés, 6 restaurants, a bakery, as well as two theatres and a boutique hotel opened in Engelab street, breathing new life into the area and creating new social and professionnal opportunities for the locals.

The Hanna Boutique Hotel is not located on Engelab Street, but on Lolagar Alley, which is a private sidestreet inside the 600m neighbourhood and a part of the whole regeneration scheme.