The Impact of Modern Architecture on Iranian Architecture
Afarin AmirhassankhaniAuthor, Bachelor of Architectural Engineering, Islamic Azad University of Mashhad afarin.ahk@gmail.com
AbstractThe phenomenon of modernity and modernist thought is one of the most prominent cultural features of contemporary philosophy.
During this period, Iran has become a new country in the social, political, cultural and economic fields, considering the developments of the last century and these changes have also affected the thoughts of the society and have caused the thoughts of Western countries to enter the structure of different fields of activity in the country.
This new thinking in the field of architecture and urban planning has created a deep gap in architecture and has separated Iran from its architecture of several thousand years accord ing to the structure of social identity of that period and has entered a completely different period in terms of ideology Today, after several decades, the results of this change in the thinking of Iranian cities have been determined.
Given the knowledge of modern European architecture, we can now examine the consequences of this style of architecture in the Third World and Iran, because modern architecture in Iran is not derived from the identity of modern architecture, but corresponds to the quasi-modern society. To identify the characteristics of modern Iranian architecture, the common point of modern architecture and modern society should be examined.
Because these characteristics make contemporary eclectic architecture in a combined form.
Keywords: Contemporary Architecture, Traditional Architecture, Modern Architecture, Modernity
Introduction
The rapid growth of cities and towns, the need for rapid construction for urban de velopment, and the lack of housing have created many problems.
Industrial projects, massive constructions, tower construction, new and newly built cities, have changed cities. Another major problem of cities is that with the develop ment of new cities socially and economical ly, the inhabitants of old cities have migrat ed to new cities.
Meanwhile, younger people have entered the old cities with new needs and want change in them. These people are not fa miliar with the true value of historical mon uments and their valuable texture and will begin to destroy these monuments. Unfor tunately, in most cities of Iran, historical ar eas are preserved in such a way that life in the traditional environment seems degrad ing and the luxuries and comfort of appear ance in modern areas increase the desire to live in these areas; The quality of life in the modern world is also displayed in such a way that people want to demolish older neighborhoods and build them in a modern style.
However, the traditional architecture of each region is based on the habitat and climate of the area and is much more effi cient than modern architecture, which pays less attention to its site. However, people should know that respect for cultural heri tage is respect for history, culture and her itage left by the past, and by damaging, destroying or forgetting them, they present cultural and historical poverty to their future generations.
Unfortunately, with Western architecture and its influence, Western culture is grow ing, and the need to save tradition from modern architecture is important.
Sheikh Zainuddin states: “The reason why we are witnessing all this ugliness in the city is a cultural problem. “The fundamental problem at the macro level is with our cul ture, not our technology.” Modern man, by trusting and relying on his intellect, came to know and recognize better life.
Modern man trusted and relied on his in tellect and came to a better understanding of life. And he started to know nature and himself and achieved many advances in various scientific fields.
Modern man had an ideal like the modern city in mind. He thought that with the boundless progress and domination of na ture and history, any suffering and deficien cy in human life would end.
In this way he quickly began to identify na ture and all possible realms of the universe. In the late nineteenth century, doubts arose about the consequences of realizing the ideal of modernity. Nietzsche was one of the first thinkers to measure and critique modernity and tried to give a new position to man with a new analysis of man and hu
“Modernity has brought great and important achievements for human life in the fields of science and humanity, the impact of which can not be ignored in human life and de velopment. But given the consequences of modernity, we must pay attention to the limitations and nature of intellect.
Because recognizing brain damage and critique of the modern world, can create an attitude for us to enjoy the joy and essence of the modern world in life and to be safe from its negative effects. Because recog nizing the harms of the intellect can create an attitude for us to enjoy the joy and es sence of the modern world in life and to be safe from its negative effects.
In this way, tradition should not be forgotten, but tradition should be the continuation of a comprehensive historical and cultural current that shows its continuity and con tinuity through movement, progress, in the basic manifestations of language, litera ture, art, philosophy and tradition of life.
To have a serious relationship with our past, we need to overcome the complexities of self-inferiority and realize that progress does not mean eradicating the past. The past is our starting point. We must once again have culture, literature, art and philosophy.
But this does not mean analyzing the past
in the way of Orientalism and archeology, but it does mean re-interpreting and giv ing meaning to them and consciously used them in language, thought, literature and art. But this does not mean analyzing the past in the way of Orientalism and archeology, but it does mean re-interpreting and giving meaning to them and consciously applying them in language, thought, litera ture and art.
We must re-learn and critique all that the West has taught us, and never forget that the material mastery of Western civilization does not mean the absolute mastery of all its standards, lifestyles, and culture. The purpose of this study is to investigate the impact of modern architecture with tradi tional Iranian-Islamic architecture.
Over the past few decades in Iran in the fields of culture, social, physical environ ment planning, many Western concepts and ideologies have been used to create a modern applied industry. On the other hand, the modern policies, technology and architecture of that field are compatible with any religion due to its neutrality. As a result, many public decisions in society, education, and the formation of physical environments pay much attention to West ern models. While the main policies of the government, urban development strate gies and its legal laws are close to West ern laws, and currently Iranian cities have dualism and conflict, and the evolutionary process, rapid growth and development of construction in it, does not provide any op portunity to adapt to native architecture. Therefore, the researcher requires the fol lowing strategies to achieve her goals:
1- Providing a contemporary institution for coordination between the past and the present
2- The influence of Western architecture in the realm of Islamic Iranian tradition
3- The evolution of Iranian cities in their intellectual, environmental and architectural identity
4- The need to preserve the past, cultural and historical heritage of architecture
2. Statement of the problem
Advances in technology, new construction methods and new materials have led to the dominance of Western architecture over the rich traditional Iranian architecture, and considering the buildings created in Tehran, it can be said that modern architecture is currently the most comprehensive archi tectural style in this metropolis. It is worth mentioning that the origin of this architec ture is outside Iran and in terms of style, it has no roots in the past and culture of this
In fact, architecture is a combination of cul tural elements and factors related to the beliefs and worldview of society, while Iranian architects are educated in the culture of their country and are familiar with the culture and habits of Iranian architecture, the work he creates should be the spirit of architecture. One of the most important views and the main goal of the original Is lamic architects is to value the nature of hu man needs, this view leads to the creation of a suitable atmosphere for society. Modern architecture, with the influence of Western culture and standards, has taken a modular form and ignores the culture, customs and traditions of Iranians, while in traditional architecture due to the harmony between the form of the building and the culture of the people, the building not only functionally meets the needs of users, but they also have deep cultural meanings; Traditional architectural forms are also meaningful to people by being rooted in cultural patterns. Such places bring a sense of se curity and tranquility to the people. With a little study in the historical context of each city, repetitive patterns in materials, colors, textures, windows, doors, etc., it’s clear that uniformity and harmony in this is rem iniscent of Iranian architecture, which has been disappeared for years.
Nowadays, a number of architects have tried to build Iranian houses, but the lim ited number and dispersion of these build ings have made these buildings do not look architecturally Iranian. It is said that the study of every age expresses the thought
and notion of ruled that time. Thus, the ap pearance of each building expresses the thought of its owner.
Is there a connection between turbulence in the facades of the country’s buildings and Iranian thought?
The imitation of today’s Iranian architects from the architecture of other countries and also the lack of a fixed model of traditional Iranian architecture caused contemporary Iranian buildings to leave different profes sions; as a result, the appearance of Ira nian cities has become chaotic and full of various views, forms and architectures. However, such chaos is not seen in the tra ditional context of the city. In examining the theoretical foundations of today’s Iranian buildings, what was emphasized was that the form of the building is a function of its function and with this approach, modern Iranian architecture was formed, while tra ditional architecture is no exception to this rule, but the form of each building reflects It’s inside.
Different ideas of Iranian and Iranian archi tects have caused the creation of different and chaotic buildings and have changed the appearance of the city.
Traditional Iranian architecture, due to the method of construction and its decorations, is a costly architecture in terms of construc tion time and price estimation; Therefore, modern architecture as a technique and in general simplification and acceleration of the construction process has replaced traditional architecture. As the needs of the people have changed from the past to the present, traditional architecture does not meet the needs of the people in terms of traditional execution, decorations, materi als and plans. Traditional architecture must change with the changing needs of the people by keeping constant their identities, concepts, meanings, communications, execution patterns, elements, and it’s drawings. These drawings are a collection of environmental stimuli that send information to citizens to better understand traditional Iranian spaces.
Frequent presence and construction of
these buildings in urban environments, cre ates a mental background for future archi tects to build buildings with the proposed patterns.
The point that has enriched traditional architecture is these performance patterns, which unfortunately have not yet been reorganized. It should be noted that one of the reasons for the tendency of the people of the society to modern architecture can be the development of societies and the changing needs of the people.
Traditional architecture with the same method of construction and old materials is far from the current technology of today’s societies and the reason for its desolate is the lack of updating of this style of thought. The use of special patterns of valuable Iranian buildings, in the form of modern architectural execution method to unify tra ditional and modern architecture, together and the existence of these buildings and people’s sense of their existence, can be a starting point for future projects in the form of traditional Iranian architecture; the result is the return of the city’s appearance to its original and old face. Respected officials need to work to transfer cultural traditions and concepts to contemporary architec ture. Therefore, in this research, we try to mention the effect of modern architecture on Iranian architecture in the contemporary
The historical monuments of any country are a part of the identity card and culture of the people who live in that country. Reminiscent of valuable Iranian architec tural drawings and paintings in contempo rary buildings today, instead of imitating Western drawings, is a reminder of the rich history of the country, which is displayed for future generations and visitors from other cultures and countries.
These patterns should be used in all urban uses so that the city as a whole takes on an Iranian shape and gets rid of chaos.
1. It is assumed that by matching the pat
terns and methods of traditional Iranian architecture with modern and modern ar chitecture, traditional architecture can be increased in different buildings.
2. It is assumed that by modernizing the materials and the method of implementing traditional Iranian architecture, Iranian architecture can be developed at a lower cost, with a faster execution speed, according to the needs of the people and today’s tastes.
3.1. Necessity of the project and its ap plication
Today, the return of traditional Iranian ar chitecture, the use of signs and symbols of Iranian architecture, has become an im portant issue in urban planning. The study of this issue in pre-Islamic times to revive traditional architecture was lost due to the government’s tendency towards the West. After the Islamic Revolution, buildings with traditional architectural forms were built in different cities. Unfortunately, most of these buildings have only the form and image of traditional architecture, but they are very far from the meaning and concept of tradi tional architecture.
4. Research objectives
Trying to understand the impact of modern architecture on Iranian architecture is one of the goals of the project. An attempt is made to identify some of the contradictions between modern planning techniques and the traditional Iranian-Islamic approach in order to identify inconsistencies for com pliance. Efforts to preserve and revive the quality of architecture, identity and cultural continuity are unique to Iranian architec ture. The policy is modernization and co ordination between the past and the future.
5. Research method:
Preliminary studies of the project are re viewed using the Internet sites and books available in the library, including: providing basic studies on concepts such as: defini tion of traditional architecture, modern ar chitecture, history of traditional and mod ern architecture, its types, goals and ... Presentation of applied studies including:
review of internal and external samples in accordance with the performance and approach of the project, field studies us ing field visits, preparation of photos and sketches including: site visit, visit and analysis of the existing sample.
6. Data collection method
The research method is a combination of descriptive-analytical techniques.
In the first stage, using the method of li brary and documentary studies in the form of theory, a hypothesis is formulated and performed by the researcher.
In the second stage, the field and experimental methods used with the help of interview and field visit tools, etc ... the required
The existence of a large number of Irani an architectural works in Iran, which have been used by architects from the earliest times to the present day, and the secrets told from fathers to sons, always provide the possibility of studying the valuable art of Iranian architecture. Therefore, in the definition of traditional Iranian architec ture, we refer to this case, traditional Ira nian architecture has been called a term that includes: historical architecture, origi nal architecture, identity architecture, local architecture, meaningful architecture, local architecture and local architecture. Traditional Iranian architecture has an Ira-
The following are some of the important features of Iranian architecture that have influenced the spirit of this style of architec ture. Among the features of Iranian archi tecture is the essence of Iranian architec ture, its mathematical logic and mysticism. The introversion and attraction of Iranian architects towards courtyards and padiavs, pits of gardens and porches, pergolas and naves around them, have created pleasant and familiar environments that have long been part of the logic of Iranian architects. Another important feature in Iranian archi tecture is the module. The arrangement of
architectural components in an Iranian de sign is done by analyzing and combining certain sizes and criteria that the architect creates the required spaces accordingly. These proportions are present in the facade, door and window, decorations, plan execution, etc.
Another important feature of Iranian archi tecture is the observance of hierarchy, for example, open and closed and semi-open spaces. In contrast to modern architecture, which has greatly dominated the buildings of Iran. Modern in its general sense means newness and many of the newnesses of the external world precede the modernization of the world of thought that is, the age of “modernity” is more advanced. Modern ar chitecture in Iran from the beginning as an architectural style in Iran has always been evaluated critically in comparison with the past values of Iran. Modern architecture was a turning point in the history of West ern architecture or in the history of world architecture; Because for the first time, the attitude towards tradition, history and the past as a source of architectural inspiration changed direction and the future and prog ress were introduced as the main subject and goal of architects.
Modern architects and theorists sought to equate architecture as a science and tech nology with the evolving world. Modern architecture is new and universal and is rooted in building concepts. Such an archi tecture is appropriate for a new industrial society.
The measure of modern architecture is usually the concept of functionalism. So, first of all, it pays attention to usefulness and efficiency. There have been funda mental changes in the field of architecture in the last three decades of the last centu ry, which have been rooted in fundamental intellectual and social changes and changes in human attitudes towards themselves and the world around them in the West. Modern architecture pays more attention to efficiency and functionalism than anything else. It is made with the lowest cost and highest efficiency; It is also a symbol of the
limitation of the human role in today’s in dustrial world and the superiority of tech nology. It has a holistic state. The buildings are industrially constructed, spacious and comprehensive. It is anti-decoration, anti-show, anti-metaphor, anti-historical memorial and anti-humor.
Vartan Hvansan is one of the pioneers of modern architecture in Iran, and there is no trace of history in his works. Mohsen For oughi has also played a significant role in this regard. In the atmosphere of traditional Iranian urban planning, the observance of architecture on the one hand and the re spect and customs of traditional culture on the other hand are important.
Using tradition in architectural works does not mean repeating and imitating the works of the past, but focusing on the theoreti cal and philosophical principles and foun dations of today’s architecture that are evolving, is one of the main fundamentals of modernity. In other words, the definition of modernity can be expressed as follows; The desired modernity is the acceptance of the original and cultural principles and values of the past, along with the manifes tation according to human needs and the localization of everything that has been im ported from other civilizations and does not conflict with the cultural values of society. In other words, modernity or reconstruc tion can be considered as finding a suitable answer for the time and place to the demands of the audience by using the opinions and experiences of the predecessors
Now, in contemporary architecture, to re spond to the identity crisis and the turmoil of cities, it is necessary to return to traditions and inspiration from tradition. Today’s Irani an architecture is very confused, which is due to the lack of meaning in architecture. In the present age, imitation of traditional architecture can not form an architecture with an identity, because the discoveries of the traditional period are different from the discoveries of the contemporary period.
8. Research findings
8.1. Modernity and modernism
Modernism is a sociological trend and an artistic style that should be considered a century ago and the evolution of that period should be examined. Modernism emerged in Western Europe more than 150 years ago and has introduced as a model for fighting traditional institutions, ideas, and beliefs. The use of individualistic tools was the method of development of this moder nity thinking and the result of this type of thinking is the emergence of human-cen tered with worldly insights. The first char acteristic of modern societies and modern architecture is modernization equals tech nological mutations. In non-modern coun tries, this equation is in the form of mod ernization equal to Westernization and has manifested itself equal to the import of technology.
Experience has shown that this leads to the destruction of powerful civilizations and lasting values of non-modern countries. Another characteristic of modern societies and modern architecture is cognition, its trinity, that is, the three factors of technolo gy, production and consumption.
There is a big difference between building an apartment and a residential tower to be come an economic element and the love that our fathers had for the old half-ruined houses. Modernity is a state that is used in history and is a kind of attitude to exis tence and life, and modernism is an ideol ogy. Because so many articles have been published on recognizing and explaining the ideas of modernism, repeating the ap proaches and goals of modernity will be re petitive. But modernity and its experience in Iran, after many years, remains as ques tion.
8.2. Indicators and principles of modernism
A. Humanism
B. Rationalism
C- Desirability in the principle of humanism
In modern philosophy, man has a high sta tus and it was believed that anything that does not provide human satisfaction and
happiness, is out of this idea and can be condemned. In the principle of rationalism, philosophers considered the attainment of rationalism in human culture and believed that the power of human intellect is a fact through which man is able to meet his needs in the most desirable way. Whereas, according to modernism, the intellect does not believe in the supernatural at all, and if it does, it does not play a role in the worldly state of man. Moreover, the intellect of modernism is limited to a very small hu man scale. As Burkhart says: Is rationalism noting more than the confinement of intel ligence on a human scale? And the art of the Renaissance with the interpretation of “human-like” and human-minded architec ture, expresses exactly the same meaning. 8.3. The experience of modernity in Iran Modernity, and its critiques, has been a constant controversy among intellectuals and scholars throughout history. Since the publication of Jalal Al-Ahmad’s book “Ghar bzadegi” and Dariush Ashouri’s critique of it in an article entitled “Historical Awareness, An Attitude in Gharbzadegi and Its Theoretical Foundations” which was first published in 1346 in the book “Book Review” until to this day, it remains an unsolvable problem
The main reason for this controversy over the critique of the experience of modernity and the consensus in the critique of mod ernism is that first, modernism as an ideology is not interpreted differently, but in discussing the experience of modernity, one must first examine the conditions of society before modernity, and then study the be havior of society and government in this period and then by measuring the success or failure of the project to reach an under standing of the totality of modernity. It is clear that this interpretation allows for any personal judgment and leads to a lengthy debate, as described above. In order to reach a convincing and accurate answer, we study the contemporary history of Iran, especially in certain periods, with empha sis on the sociological and economic char acteristics of each period.
The travels of Nasser al-Din Shah and the courtiers to Farang and the observation of Western art and technology caused the unfinished reforms of Abbas Mirza to take another form.
With the direct acquaintance of the kings and courtiers of the Qajar period, especially Nasser al-Din Shah, with the manifesta tions of nineteenth-century European cul ture and civilization and bringing part of it to Iran, a fundamental change occurred in the thinking of Iranian artists.
In this period, the ideal of Iranian archi tecture gradually finds its identity in Paris and other European cities. Of course, this example is imposed on the architects and builders of such buildings by the employ ers and owners of this building, otherwise architects and artists would not have been able to travel to west and see this earthly paradise of the world.
Mirza Mehdi Khan is known as (Momta henaldolleh) as the first contemporary ar chitect. He studied in France for 3 years and finally returned home in 1864. In the first action after wandering in Tehran, he was commissioned to prepare a part of the plans of Sepahsalar Mosque and Baharestan Mansion. Momtahenaldolleh used Europe an architectural elements in his works. One of his most popular achievements was the design of large foyers and open staircas es in the European style, which replaced the corridors and closed stairs of tradi tional architecture. The above-mentioned change was seen only at the level of build ings whose owners belonged to the aris tocracy. During this period, medium-sized residential buildings, especially in the old neighborhoods, were built with the same traditional structure.
Porch, guest house and central courtyard was still an integral part of the popular ar chitecture. Amir Bani Massoud in his book “Contemporary Iranian Architecture” describes the situation of Tehran and its open spaces as follows: “A plan in 1258 AH was prepared and published by a Russian tour ist, Monsieur Elia Nikolaevich Barezain. In the plan of BareZain, the narrow alleys
of Tehran can be clearly seen in the axis of the bazaar, which was clearly the most ac tive part of the city and opened to the gate of Shah Abdolazim.
“The city did not have a play area during this period, it had almost no large buildings, and the only open space was the Shah Square, which was located between the bazaar and the Arg.” Western style architecture, which initially entered Tehran with court buildings, spread. In the Nasserite period, the archi tecture of the buildings and palaces of the citadel was influenced by European build ings, especially French. The accompani ment of nobles and aristocrats and the return of a few Iranian students from abroad, as well as the construction of a railway from Tehran to the shrine of Abdolazim in 1267 AH, changed the face of Tehran.
As a result, Tehran changed from an Irani an-Islamic city to a European material cul ture due to cultural eclecticism. During this period, the area of Tehran was changed twice and its size was increased to the point that the use of public transportation became necessary. New streets suitable for carriage crossings were built, and the structure of the urban community under went serious changes. For example, the streets of Bob Homayoun and Lalehzar and Nasiriyah and Cheragh-e-Gaz, which are influenced by the streets of nineteenth-cen
Previously, in the introverted Iranian architecture, the passages and alleys were narrow and winding and there was the least number of holes and holes to the outside, but in this period, with the creation of a modern street, the need for space and side decorations of the building. It was felt that the windows of the houses were facing out wards and the courtyards were no longer central. Also, new streets such as Lalehzar, where shopkeepers used shop windows to attract more pedestrians, became a place for passers-by to have fun and wander; Something that had no precedent before. We see that changing the type of urban planning creates new habits for people. Before the modern era, the mosque and
the bazaar, which were usually built side by side, were the main and perhaps the only gathering place for passers-by, but in this period, the street was known as a public space.
The arrival of new elements from Western civilization was inevitable: Almasieh Street, which connected the artillery field to the north of the citadel, became a modern promenade around which the stalls of the modern craftsmen, called the Dar al-San aye, were built. The main square of the city was connected to the large artillery square from Arg and Sabzeh squares; and Several new streets were lit by gas lights. The 1940s and 1950s are considered to be a turning point in the history of contemporary Iranian thought. During this period, the market of localism and historicalism was very hot in the intellectual and scientific communities. The success of Third world leftist move ments and the policies of authoritarian re gimes led intellectuals to look for indirect ways to express their protests. Dariush Shaygan, Ehsan Naraghi and Hossein Nasr were other thinkers who preached na tivism. The analyzes of these thinkers were mainly based on the dual basis of East and West.
The East is usually portrayed with good qualities and the West with bad and ugly traits. The cultural ideas of modernism are largely rejected, and in some cases only the use of Western technology and science is recommended.
Words such as profiteering, mechanism, alienation, loneliness, etc. are used fre quently. Along with these thinkers, archi tects were also looking for a kind of their own architecture. What was formed during this period under the name of “local archi tecture” was nothing but modern architec ture, mutilated with a tendency towards ecology and historicism, had a wide and dynamic meaning for these architects. Nativism in the broadest sense can be con sidered a doctrine that seeks to bring back, bring back, or continue indigenous cultural customs, beliefs, and values.
Nativism is rooted in deep beliefs such as
resistance to other cultures, respect for the true and authentic ethnic identity, and the desire to return to the tradition of uninfect ed indigenous culture. Houshang Seyhoun, Abdolaziz Farmanfarmaeian and Kamran Tabatabai Diba are the most advanced architects of this generation. The design and construction of modern public spaces such as cinemas, stadiums, parks and museums with a native approach is common. The role of architects in this period is stronger than the previous period. In this period, the pro cess of designing and selecting architec ture took place in the Faculty of Fine Arts. Unlike the first Pahlavi era, when the court was involved in the selection of designs in such a way that national style architecture was called Reza Shahi architecture. Given the relative independence of universities in this period, the success or failure of native architecture can not be directly attributed to political rule. Given the relative indepen dence of universities in this period, which is evident in the nature of their orientation in political matters, the success or failure of vernacular architecture can not be directly
International style is another common style in the architecture of this period. Buildings that did not differ the least from those built in the West. Their construction was financed by oil revenues and made Tehran more like European capitals.
8.4. Thoughts and the foundation of contemporary architectural thought
A- The date of emergence is the late Qajar period and the rapid transfer of thoughts and ideas is a feature of modern society.
society is based on the speed of informa tion transfer, and this exchange of reforms ultimately balances culture and architectur al model.
B- Tehran, as the capital of Iran and the connecting point of Iran and Europe, has been responsible for the complex develop ment of this architecture.
C- Origins: The origins of modern Iranian architecture were the transfer of the decep tive culture of the West to the introverted
Iranian society.
In this regard, the borders of the cities were destroyed and their natural textures were transformed into geometric shapes. During this period, Western principles were built and implemented with Iranian facilities, and at this stage, architecture acted as a cultural tool. At the same time, the second origin of this period is economic use in architec ture. Perhaps the Middle Ages of modern Iranian architecture can be considered the first time that architecture is introduced as an economic commodity, because accord ing to the principles of modern architecture, ie the removal of ornaments, architecture was not a tool for cultural reflection but an economic commodity and this achievement was so manifested that the modern archi tecture of Iran changed into an economic style called “build and sell”.
E- Regression method: The use of import ed technology in combination with climate and traditional technology, different meth ods of implementation in Iran, which is still used with limited modifications.
F-Scale of action: Architectural movement has been from Europe to Tehran and Teh ran to the centers of provinces and main cities. In any case, when modern and post modern societies are destroyed in terms of information, and the period from the emer gence of a style to its decline reaches a de cade, Iranian architecture appears not as a pioneering style, but as a goal.
In addition, other reasons such as hiding the theoretical foundations of Western ar chitecture can be considered as one of the reasons for the influence and prevalence of architecture and urban planning in the form of development and industry and science introduced to society, which also promotes more philosophical foundations and beliefs.
In other words, if in the Qajar period it can be said that: the ideal of Iranian architecture finds its meaning and concept in Paris and other European cities, this concept is imposed on the architects and builders of such buildings by the employers and own ers of these buildings. Otherwise, archi tects and artists would not have been able
to travel to the West and see this earthly paradise of the world. During the two de cades of Reza Khan 1304-1320, the Iranian government determined the style of archi tecture and the government implemented most of the architectural projects. The first stage of Iran’s industrialization began in this period.
Cement factories, crystallization, chintz making factory, weapons making, and to bacco factories were built around Tehran. These and some other constructions with modern western architecture changed the face of the city and Tehran became a new city. One of the side effects of Reza Shah’s plan to build government buildings was a significant increase in the variety of build
New materials, especially concrete, steel and glass, and innovative methods in the implementation of structures, replaced the old materials and methods.
The basic principles of design that had been common for centuries changed and in some cases different designs for spaces
The most important change was the use of concrete. The use of concrete in this peri od caused a new generation of Iranian ar chitects to enter the world of modernism. Circular shapes, wide openings and open plans were the areas in which concrete entered to them. Thus, a new style of ar chitecture emerged, known as cement architecture. Many other materials, such as steel and glass, which were originally used in government buildings, were also used in residential architecture. Large pieces of glass were used for the windows, instead of sash windows and small rectangular glass. Cement mosaic was used to cover the terraces, courtyards and floors inside the houses. In the Pahlavi period, the use of new materials made it possible to build a variety of modern houses and thus changed the face of the building and the city forev er. During the Pahlavi regime, the decision was made to improve the current situation of Iranian cities, especially large cities. These activities included making physical
changes to the old texture of cities.
Of course, scattered urban planning activi ties are also seen as necessities in this pe riod. The first law of urban planning in Iran at the preliminary level without the use of studies and urban planning laws of other countries in 1312 passed the parliament. This law was about the construction and development of roads and streets.
In July 1320, the law was amended and re vised under the title of Road Development Law. With the outbreak of World War II in Iran in September 1320, urban planning activity was stopped or reduced, but the occupation of Iran until the end of World War II changed the taste of society and the impact on the ideas and culture of society and this was a factor for avoiding Iranian culture in building construction.
The actions taken in the 1320s can be sum marized as follows:
A- Construction of streets and squares with a sufficient width and in accordance with the urban planning needs of that time in the cities and old places and disproportionate to the principles of their urban planning un til the end of the cities.
B- Construction of ring roads around large cities, which were mostly straight north, south or east, west, and sometimes arched in some parts of the city.
The service area of the city was determined by these streets.
C-Destroying incorrigible sites as well as cemeteries located in the city center and turning them into public parks.
D- Encouraging and forcing the people of the city to beautify the buildings, especial ly the buildings that were located near the constructed or undeveloped streets.
E-Determining a map of suitable passages in large areas that had not been construct ed and were located within the city or adja cent to them, and the possibility of developing and constructing buildings in the future was given.
The measures taken during the reign of Reza Shah were physical changes that were carried out regardless of its economic and social consequences.
These measures followed the implementa tion of the modernization model. The purpose of these changes was to cre ate cities similar to Western examples. However, urban planning measures from the time of Mohammad Reza Shah onwards were carried out in the form of development plans as follows:
In the first development plan of 1327-1344, social and urban reforms were one of the
Measures taken under this program includ ed: creating and widening streets, provid ing drinking water, providing electricity, and
In the second development plan of 13351341, implementation of piping and drink ing water treatment projects, construction of sewage, construction of flood dams, con struction of bridges in the city, construction of baths, construction of power generation centers, construction of slaughterhous es and construction of their main asphalt
In the third development plan of 1342-1346, German urban engineers were hired as consultants in Iran and prepared crossing plans for several cities, including Isfahan. In the same program, a referral plan was prepared for 17 cities in the country. In the fourth development plan of 13471351, a comprehensive plan was prepared for 9 other cities, the comprehensive plan of Tehran was prepared in 1348 and the next year it was included in the government
In the fifth development plan of 1352-1356, for the cities that had a population of more than 25,000 people in the 1345 census, a decision was made to prepare a compre
On the other hand, during the Fifth Plan, oil revenues increased from $ 1.2 billion in 1349 to $ 9.20 billion in 1977. This increase in income created great opportunities for the growth of urban planning in the country. During this program, the profits from construction increased and the activity of construction brokers intensified. The title of land and house as a commodity
caused many problems in the urban plan ning system. After the revolution, urban development plans were introduced in the concept of metropolitan areas, and com prehensive city plans and 90 housing were introduced.
Within the cities or next to them, land preparation plans, design and implementation of urban highways, design and creation of parks and green spaces, etc. were consid ered. Perhaps the most important action of urban planning after the revolution can be considered as planning and creating new cities. Over the past few decades, many Western concepts and ideologies have been used in Iran in the fields of culture, society, environmental planning, and phys ics, and to some extent a modern industry has emerged.
On the other hand, modern politics, tech nology and architecture are compatible with any religion due to its neutrality.
As a result, many public decisions in soci ety, education, and the formation of phys ical environments pay much attention to Western models. While the main policies of the government, urban development strat egies and legal laws are close to Western laws, and currently, Iranian cities are in a dilemma, and on the other hand, , the evo lutionary process and rapid growth and development of construction in them, does not give an opportunity to adapt to local ar chitecture.
With the advent and development of mod ern architecture, the plans, which previous ly had the least adaptation to the past and traditional architecture of Iran, took on a special, simple and functional form. There were no longer large and unused spaces, wide, long aristocratic and classical stairs, and in fact, the plan, which consisted of symmetrical spaces, mostly large and the atrical, took on a new form. Terraces facing the streets and passages, row windows and unique stairs, and cubic and cylindrical protrusions in the facade and the use of ce mentitious materials in the facade became unique features of modern architecture in Iran. The symmetry in volume, facade and
plan, which was previously a feature of Ira nian architecture, was severely diminished. These changes were not limited to volume and plan; Other examples of these chang es include:
1. New volumetric forms and compounds
2. Use of direct lines or streamline
3. Design of high towers in a stepped man ner
9. Emerging decorations with industrial shapes, stone, brick and metal
5. Metal fences with emerging industrial
6. Stone, brick and cement facades
The facade of international architecture in the second half of the first Pahlavi and in comparison with the building of the Girls’ school of Art, which is the first building built in the international style in Iran, underwent
1. More simplicity in appearance and plan
2. Use of concrete and metal structures
4. Emphasis on horizontal lines
5. Overall horizontal windows
6. Facade covering with stone, plaque or Iranian architecture, which has had a con tinuous history of more than six thousand years, suddenly became separated during the Qajar period. In the beginning, the governing body came to Europe and the king and his courtiers became acquainted with European architectural innovations, but the turning point of this change and develop ment in the first Pahlavi period appeared. It was during this period that the mentioned developments increased, so that from the first Pahlavi period, we can be called as the founder of modern architecture in Iran.
Western architects and urban planners were mainly used to establish administra tive power centers that were formed from a complex of huge buildings. They also used the patterns used in modern Western ar chitecture in the form of designs; While the
concentration of such activities in the cap ital and the need for major renovations led to the demolition of some valuable archi tectural structures of the past.
During this period, increasing the population made it necessary to create more buildings needed for architecture; The growth of urbanization made it possible for cities to expand freely. Following the regime’s mod ernist policy, which followed the invasion of Western culture and confrontation with religion, in addition to the construction of new leisure centers, it became a complete ly Western extrovert. As a result, the issue of aristocracy intensified and deprivations were shaken.
Among the measures is the presence of nu merous European architecture professors to teach architecture and starting a high er education course based on the training programs of European schools of architec ture and urban planning that was formed during this period. While sending students to study architecture, urban planning and other majors, people who have returned from abroad and are influenced by West ern architecture and urban planning should also be taken into consideration.
During this period, the expansion of foreign relations provided the presence of more Westerners in Iran. Following the creation of economic facilities, new social groups were formed, and on the other hand, the strengthening of economic infrastructure and the formation of industrial centers were established. The arrival of new build ing materials and methods led to a height dimension for buildings.
10. References
1. Qebadian. Vahid, 2003, Principles and Concepts in Contemporary Western Archi tecture, Tehran, Cultural Research Office
2. Moghtadar, Reza, 1993, One Hundred Years of Modernity in Urban Planning and Architecture of Iran, Literature and Lan guages, Irannameh, No. 4
3. Assyrian, Dariush, Ma and Modernity, Tehran, Sarat Cultural Institute
4. Bani Massoud, Amir, 2009, Western Ar
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5. Bani Massoud, Amir, 2011, Contempo rary Iranian Architecture in the Struggle between Tradition and Modernity, Tehran, Century Architecture Publishing
6. Saremi, Ali Akbar, 1995, Modernity and its achievements in Iranian architecture and urban planning, interdisciplinary, dia
7. Ansari, Maryam, 2009, Post Office, Mi
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13. Mojtahedzadeh, Gholam Hossein, 1999, Urban Planning in Iran, Payame
14. Mashhadizadeh, Nasser, 1374, A Pas sage on the History of Iranian Urbanism in the New Era, Proceedings of the Congress of the History of Iranian Architecture and Urbanism, Bam Citadel, Kerman, Volume 4
15. Mareft, Mina, 1996, Veterans who formed modern Tehran, Tehran is a 200-year-old capital, Tehran Municipality Technical and Engineering Consulting Or ganization Publications and the French Ira nian Studies Association in Iran