GARDEN OF MEMORY - REGENERATION OF A PERSIAN GARDEN- Master's thesis in Sustainable Architecture by Hossein Foroutan

GARDEN OF MEMORY - REGENERATION OF A PERSIAN GARDEN CASE OF CHAHAR-BAGH, ISFAHAN - IRAN MSc. Sustainable Architecture & Landscape Design Mohammad Hossein Foroutan Moghadam

GARDEN OF MEMORY-REGENERATION OF A PERSIAN GARDEN

ACKNOWLEDGEMENT

INDEX

CASE OF CHAHAR-BAGH, ISFAHAN - IRAN

Abstract:

The main motive and inspiration for developing this thesis is the concept of “Persian Garden” and raising awareness about this rather forgotten treasure. Persian garden is one of the typologies of garden design in a picture of an enclosure complete with landscaping and planting – tended and watered, which excluded the wilderness. In this study, the author highlights the history, layout, the rise and demise of the Persian garden to later propose a platform for celebrating this archetype and inviting the society to reconnect with it and pass on the knowledge about it to younger generations within a contemporary embodiment of a garden. Understanding the philosophy and history of the Persian garden encouraged an investigation in its connection with the social life in the past and has led to defining a series of activities and architectural interventions to remind the community of their long-lost architectural values and to introduce them to the non-material ways which helped to save the image of the Persian garden along with

its physical shape. And ultimately to engage them actively for safeguarding the Persian garden’s memory within a contemporary version of itself. This study is divided into four main themes: First, research about the Genesis and demise of the Persian gardens, also its story throughout the history and different geographical territories. Second, the case study, Charbagh in Isfahan and the gardens attached to it where we can witness one of the best examples of public engagement with urban landscaping in Iran. Third, to investigate other methods that helped to preserve the memory of Persian garden in the past 400 years through arts and crafts and ultimately a design proposal for regenerating and revitalizing a ruined Persian garden into a contemporary public garden to provide a display for those preserving arts and encouraging social engagement for reclaiming this architectural heritage for future generations.

Keywords: Persian Garden, Public space, Regeneration, Revitalization, Social engagement, Contemporary, Urban landscape, Arts and Crafts

“What would be more desirable than pleasure, companionship and spring in a Garden?

Hypothesis | Objectives

p .4

Where’s the cupbearer? Where are the companions? Tell them the garden is filled with the spring”. Hafiz, the Persian poet

Introduction

p . 5- 6

Chapter 1

Persian Garden; Origins & Layout

p. 7-10

I would like to thank my supervisor, professor PhD Nerantzia Tzortzi for directing my thesis and providing such a great deal of guidance and support throughout the whole learning and designing process as well as all the professors at Politecnico di Milano who passed their knowledge on to me. And special thanks to Professor PhD Joachim Wolschke-Bulmahn, for his wisdom and advice during my research project in the department of landscape architecture, Leibniz University of Hannover.

Chapter 2

Isfahan; A garden city

p. 11-15

Chapter 3

Survival of “Essence” of Persian garden

p. 16-22

Chapter 4

What about “Today”?

p. 23-25

Chapter 5

Analysis | Design proposal

p. 26-57

To all my friends here and back home for their support in making this adventure one of the greatest, especially architect Ali Kavepour for his splendid help.

. Scope & boundaries of the Project . Site and the City . Historical Analysis . Views Analysis . General Ideas . Strategy- Strategy plans . Masterplan . Regeneration plans . Architectural and Landscpae components . Details and Documents

To my family, no word could possibly describe my gratitude. Nothing would have been possible without you. And to the city of Isfahan and her ever-green Persian gardens…

Conclusions | Observations

p. 58

References

p. 59-60

HYPOTHESIS and OBJECTIVES

With such vast chronical and geographical background Persian gardens also played a significant role in social life within the urban tissue, especially because of their resilience in the different and sometimes harsh climate of the Iranian plateau, they were providing a context for various social activities from leisure to education and cultivation.

Fig 1. Penelope Hobhouse, 2003

Specific objectives:

Persian garden layout has continuously evolved and survived since its genesis until today, therefore it has enough potential to be represented as a contemporary platform for social integration and reclaiming public spaces.

1. Contemplating the concept of Persian garden and how it evolved and impacted through time and location.

General objective: To regenerate an abandoned, ruined block of Persian garden taking into account its historical and urban tight connections and to encourage the community for participating actively in reclaiming former values and interact socially in a public realm.

2. Investigating the possible ways which ensured the survival of fundamental principles of Persian garden during the demolition period of its physical embodiment. 3. Apply the studied methods to revitalize a garden as a contemporary version of Persian garden and encourage public participation in celebrating historical values.

INTRODUCTION

Hypothesis:

As defined in the UNESCO index of world heritage in 2011 “Persian garden is a typology of garden design that evolved and adapted to different climate conditions while retaining principles that have their roots in the times of Cyrus the Great, 6th century BC. Always divided into four sectors, with water playing an important role for both irrigation and ornamentation, the Persian garden was conceived to symbolize Eden. These gardens, dating back to different periods since the 6th century BC, also feature buildings, pavilions, and walls, as well as a sophisticated irrigation systems. They have influenced the art of garden design as far as India and Spain.” (UNESCO index of world heritage about Persian gardens, 2009)

Nevertheless, when this successful architectural and urban typology has reached its most mature version in Safavid Isfahan in 17th century, it started a gradual deterioration and has been neglected especially during the past century due to the modernization of Iranian cities. While, in the western world the awareness has been raising about appreciation and safe-guarding historical values around the same time. (Cities of Tomorrow: challenges, visions, ways forward, 2011) Nowadays, with spreading the concept of sustainability in every aspect of modern life including settlement design and development, the undeniable role of urban gardens in a sustainable city of the future has attracted many attentions. Public gardens are institutions known for their contributions in advancing knowledge and appreciation of nature by offering opportunities for research, education, and leisure activities. Contemporary Public gardens are already playing a significant role in helping cities and towns develop sustainable practices, and the potential to multiply this contribution is evident.

The application of the public gardens in sustainable community development may also help to build valuable human and social capital in the form of leadership skills and networking capacities, and to create opportunities for entrepreneurship that improves the local economy as well. However, this powerful partnership between public gardens and both local government and non-profit organizations remains an untapped resource in many communities. (Z.Gough and Accordino, 2012) Contemplating the notion of Sustainability gives us a unique chance to look for collective solutions in order to first slow down and then deviate the demise of historical local archetypes such as Persian garden and ultimately to nourish and revitalize them. One of the possible solutions is to observe and seek cultural roots within Persian community itself. Surprisingly, traditional Persian culture has devised various solutions to safeguard the very spirit of vanished values not in terms of physical and actual preservation but through immaterial ways such as arts. The hypothesis is that the arts and crafted which have a meaningful connection to the garden design play a key role in sustainable regeneration of demolished Persian gardens.

Persian Garden; Origin, Layout and Journey through history and geography

“Public gardens are institutions known for their contributions in advancing knowledge and appreciation of nature by offering opportunities for research, education, and leisure activities.” Z.Gough and Accordino, The role of public gardens in Sustainable community development

CHAPTER 1

If we are discussing regenerating and revitalizing Persian garden for contemporary use of the society, we must first find a wholistic comprehention of Persian garden, its story, and the way it survived via the arts and crafts. These concepts will be thoroughly developed during next chapters of this study for they have a vital role in the creation of the final proposal.

Pietro della Valle, Italian traveller, learned his lesson about differences of Persian and European gardens the very first day he visited a royal garden in Isfahan belonging to the king of Iran, Shah Abbas the first. Upon entrance, he was stopped by the guards and forced to sit by the pool near the entrance while attempting to stroll with no permission in the garden assuming that Persians tend to walk in their gardens like Europeans use to. It was only six years after this day when he sat in the central pavilion as a close congruent of the king Shah Abbas, with a dominant view over the entire garden expressing his acknowledgement and fondness about hierarchy and respect as the inseparable aspects of a Persian garden. The qualities which della Valle gradually perceived about this particular type of garden are amongst the fundamental characteristics upon which the very notion of Persian garden is built.

The crucial impact of the Persian garden on the design of descendant gardens in different geographical locations is undeniable and today we can still see the obvious trace of Persian Garden’s motifs and patterns in various examples from central Asia to the north of Africa and south of Europe. But compared to other famous garden paradigms, the origin and characteristics of Perisan garden remained a mystery. Therefore, it is necessary to have a closer, clearer look to the roots and definition of the Persian garden archetype. Background The term “Persian garden” started to appear in the travel journals of European explorers who have visited Iran in 17th century, under dominance of Safavid dynasty as an Islamic, Shiite power. However, the art of garden design in Persia dates 2000 years back to the era of Achaemenid empire. The oldest Persian garden was found in Pasargadae (529 BCE) the capital of Cyrus the great. Influenced by the Mesopotamian gardening techniques, the remnants of Pasargadae gardens indicate a geometrical design proving the uniqueness of this place from the historic and aesthetic point of view.

The paradigm of Persian garden was born following the creation of Pasargadae. However, the legacy of gardens of Cyrus expanded outside the borders of Iran, particularly in Europe. Following Alexander’s conquest of Persia, the Greeks adopted the layout of the gardens, and the idea of earthy Paradise was introduced to the Hellenistic gardens of the Seleucids and the Ptolemies (the final dynasty of Egyptian pharaohs) in Alexandria (Ahmadi, 2016). After Arab invasion to Persia (633-654 BCE) and dominance of Islam over the major parts of western Asia, the main patterns and motifs of Persian garden were devised in all over Islamic empire and still can be found in examples from Morocco and Spain to Timurid Gardens of Afghanistan and India.

in the heart of garden, usually with a dominant view over the entire garden.

Etymology

C) Technology: Since the Achaemenid era, Persians had to combat the hot, dry climate of Iran plateau and provision of water was their biggest challenge in garden designing. Even if they would have found suitable resilient plants that survives such climate- which they did- there was no sufficient rain or surface water for irrigation. Therefore, as early as sixth century BCE, Iranians found a creative way to control subterranean water resources known as Qanat. They were digging a horizontal shaft supported by a number of vertical veils to provide air supply for the diggers reaching the water tables stored at the foot of the mountain.

But what is a “Persian Garden” exactly? Which characteristics define a clear boundary between this type of garden and other archetypes? The answer may well be hidden in the analogy of the word “Garden” in ancient Persian language, specifically the two words “Baagh” and “Pardis” which appears to have similar meanings. Yet there are subtle differences in etymon of these two concepts helping to define the Persian garden. The Persian word Baagh is taken from the Avestan word “baga” which means “assets”. Furthermore, the word “bagh” is one of the names of Ahouramazda (God) in Avesta -Zoroastrian holy book. Majority of linguists believe the evolved version of this etymon, Baagh, could be described as a sacred place where God offers his blessings to people, based on the Zoroastrianism. (Shahcheraghi 2012:90) On the other hand, The Persian word Pardis also means garden. Ancient Iranians, respecting the tradition of their Arians ancestors tend to plant flowerbeds all around their huts and call it “pe ara deasa” meaning “surrounding the fort”. Therefore, the term Pardis (Later appeared in Arabic as Ferdows and in English as Paradise both meaning heavens) is formed by two parts: •

Pairi which means “the surrounding”.

•

Daeza which means “enclosed by walls”.

B) Order: a manner in which all the key elements would be arranged, function, and behave in connection with each other. A unique hierarchy and geometry which is traceable in all examples of Persian garden despite geographical variation or chronological differences. In this particular arrangement we witness components in rectangular or squared enclosures. The area is divided into four sections by straight axes. This pattern facilitates the distribution of required water for irrigation and beautification eventually filling a pool underneath the central pavilion.

Fig 2. Author, 2020

Combined, Pardis means “to surround the building by planting flowers or trees and enclosing it by walls” and represents the layout of the Persian garden as an enclosed area protected by walls with a central pavilion, which has direct accessibility and view to the green spaces such as flowers, bushes and trees (ICHHTO 2010:37)

Later on, this water -collected and directedbecomes the vital element of an oasis known as Persian garden. However, the Persian garden typology includes different variations based on the origin, historical period and geographical territories.

Achaemenid Empire

Islamic empire- Spain and North Africa

Timurid Empire

Mughal Empire

550 BC

10-12th Century

13-15th Century

15-16th Century

Pasargadae Gardens

Casa de Contratacion Gardens

Humayun’s Tomb-Gardens

Babur’s Garden

Shiraz,IRAN

Royal Alcázar of Seville. SPAIN

Delhi. INDIA

Kabul. AFGHANISTAN

Layout Apart from the etymology, there are three key features involved in structural pattern of Persian garden, identified as follows: A) Element: from outside to inside the fundamental particles of garden includes Wall as enclosing element, then Green space in form of rectangular, limited flowerbeds and bushes with trees as their borders, then straight-lined pathways, then water as the vital element in the shape of a rectangular pond in the middle of garden and narrow streams which run through each and every pathway and finally the pavilion which places

Fig 3. Penelope Hobhouse, 2003

Fig 4. Giles Tillotson, 2008

Characteristics:

o First evidence of mankind’s attempt towards gardening

o The built mass surrounds the open-air space

o Introducing the notion of Tomb-gardens

o Composed of several Terrasses

o Primary layout of Chahar-Bagh (four quartered pattern)

o Sunken orchards (Where the orchards are dug deep and the top of the trees surfaces the ground)

o Over-detailed and portions of garden divides into much smaller portions

o Evolution of central focal point to the axial arrangement

o Irrigation with ancient Qanat system (A network of veils connected with a horizontal shaft to tap the subterranean water resources)

o The central element is not a pavilion but often a statue.

o Existence of entrance gates in all 4 sides of the garden

o The ultimate example of geometry and detail in Chahar-Bagh

Fig 5. Maryam Ahmadi, 2016- Illustration by the Author,2020

Along with the clear definition and identifying the main characteristics, the historical evolution and remaining examples of Persian garden leeds to the better comprehension of this paradigm. A thousand years after the days of Cyrus the great, the Sassanid dynasty took interest in Persian garden as the main inspiring pattern for their royal palaces and as a vessel demonstrating that Sassanid empire has nothing less than Achaemenid legendary kings. The ruins of Imarat-i Khosrow palace and gardenbuilt on 591 to 628 AD- is the excellent example of Sassanid Persian garden.

layout was always more or less the same: the long avenues, the straight walks, the summer-house or pavilion at the end of the walk, the narrow water streams running like ribbons over blue tiles, widening out into pools which oddly enough were seldom circular, but more likely to be rectangular, square, octagonal, cross-shaped, or with trilobed or shamrock-like ends. Sometimes these pools were reproduced inside the pavilion itself: a mirror of water beneath a domed roof, fantastically reflecting all the honeycomb elaboration of ceiling. All to stay, rest and enjoying a dominant view over an earthly paradise” (Turner, 2005)

Pavilion

Waterways

Orchard

After conquering Persia in the 7th century, by expansion of Islamic territory the Arab rulers used the Persian garden archetype as the crowning jewel of their palatine gardens for example in Balkuwara palace belonged to the Abbasid caliphate, built between 849 and 859 AD in Samarra of Iraq. Later, the Persian garden has evolved through centuries and was introduced in regions so far from its birthing crib. Nowadays we still can find the patterns of Persian garden in Alhambra, south of Spain which was named Al-Andalus by Muslims rulers or in another example, Favara Palace in Palermo, Italy.

Isfahan; A Persian garden in the scale of a city During previous chapter, the concept of Persian garden is explained and various examples from India to Spain have been introduced. One of the most significant case studies of Persian gardens is the city of Isfahan and its historical gardens located in central Iran.

Walk paths

After the Mongol invasion during 1230s, Persian garden motifs was obtained and used in Timurid Gardens in India and finally was completed and exhibited in its ultimate enriched form by Safavid kings in Iran during 17th century. The very same type of garden which Pietro della Valle visited and enjoyed over the years in Isfahan and described thoroughly in his Journals.

Background

Perhaps the most obvious characteristics of Persian garden- the ones which distinguishes its definition from other types of gardens- can be highlighted from the quotation of Vita SackvilleWest:

Walls

“All Persian gardens are walled in…it would be churlish to complain of monotony in such a graceful sanctuary. But we may safely say that the

Fig 6. Author, 2020

CHAPTER 2

Chronical and geographical journey

Fig 7. Author, 2020

The first settlement in the area existed from the pre-Islamic period where the original city was located on the outskirts of where the city stands today. As a result of the expansion of Islam from the Arabian Peninsula to its adjacent territories (610-750 CE), the city was always of interests by various governors during different periods. Isfahan was chosen as the capital in a subsequent period of the Seljuqs in the eleventh century. A palace, bazaars and mosques were built around a square in the heart of the former town. The urban feature of Isfahan before the Safavid period was a compact and irregular structure, enclosed by walls and lacking any green area (Amiri, 2009).

Rise of Isfahan as a Persian garden city

Urban Identity of Isfahan

It was from the 15th century, the Safavid era that Isfahan emerged as an avant-garde metropolis and after centuries of neglection and recovery from Mughals strikes, the city became the capital for the second time during Safavid era. Shah Abbas the Great (1587-1629) moved his capital from Qazvin to Isfahan and developed Isfahan for its new role. In general, Safavid’s strong central governments had plans for their capitals, for example, Qazvin shows some examples of new urban interventions. But Shah Abbas’s ambitious plans for developing Isfahan were realised in form of large-scale public places, new boulevards, and architectural monuments. Naqsh-e Jahan meydan and its surrounding buildings were erected for the governmental function and the Chahar-Bagh Street connected the old city to the royal palaces (Hezar Jarib) on the other side of the Zayande-Rud. (Arefian and others, 2014) Isfahan’s development before Safavid was organic but it was changed under the Safavid kings as the city developed according to the urban plans based on the new Cartesian geometry.

Kevin Lynch had commented that a city is a dwelling place reflecting the lives of its inhabitants, their traditions, their culture, and the collective personality of its people. Therefore, the best way to understand the urban spaces is to investigate the process of their configuration in different periods (Lynch, 1960).

Development of art and architecture in the city of Isfahan reached its peak and set an example for other cities in the region. Complementary to largescale urban plans, at this time a new period in Persian architecture emerges with bringing rich, sensationally coloured and imaginative details into meaningful ensembles of immense scale and grandeur (Pope, 1965) that was later referred to as the Isfahan School of urban design by researchers such as Habibi and Ahari. (Arefian and others, 2014) The development of the new urban plan was very important to Shah Abbas the Great, which historians say he himself supervised the process sometimes with a ruler. The new plan followed the principles of early-Islamic town planning – a mixture of nuclear and linear patterns– with great emphasis on the development of a vast linear green space (Chaharbagh) and the green walled spaces (Blunt, 2009). This new plan shaped a new structure of green spaces which were organized by two main elements. The natural, organic element which

Lynch considered two fundamental features of imageability and legibility, which he argued, led to shaping a successful and memorable urban settlement. Imageability, by which visual quality of urban objects help to shape a strong image of the city in the mind of citizens, and Legibility, a feature that makes urban spaces clearer and readable for citizens. A creative mix of natural and man-made urban components could advance the impression of imageability and legibility of the urban pattern in a historic cit such as Isfahan. Lynch further considered five elements for the realizing of urban legibility and imageability: landmarks, paths, nodes, districts, and edges. Figure 10 will show these 5 five elements interwoven to the urban structure of the old city.

1. Paths in Safavid Isfahan

2. Edges in Safavid Isfahan

Abbas-Abad

jey (expansion of old city)

Fig 11. Cornelis deBruyn, 1718

jolfa

takht-e-foulad

3. Districts in Safavid Isfahan

Meidan- e Kohne (old plazza of city)

Naghsh-E Jahan

Fig 8. Habibi, 2008

(New safavid plazza of city)

4. Nodes in Safavid Isfahan

was the river Zayande-Rud stretched from west to east of the city and the second, the manmade, geometric element, which was Chaharbagh boulevard, straightened from the north to the south. This cross not only turned Isfahan into a Persian garden in a scale of a city but also shaped the urban identity of Isfahan according to Kevin Lynch.

Jaame mosque

Meidan- e Kohne

royal complex

Naghsh-E Jahan

allah-verdi khan bridge

Chahar-Bagh Avenue Green spaces along the river New city fabric (Safavid) Zayande Roud river Old city fabric Old city center

Fig 9. Author, 2020

soffe mount

5. Landmarks in Safavid Isfahan

Fig 10. Maryam Ahmadi, 2016- Illustration by Author

Fig 12. Pascal Coste, 1840

Fig 13. Arefian & others, 2014

Chahar Bagh

Persian gardens of Isfahan; demise, and survival

As it is obvious in the diagrams of Lynch’s five elements, all of them have something significant in common: Chahar bagh. This boulevard plays an essential role in the structure of the new Isfahan and for 400 years it remains the main urban axis of the city. In its heyday, Chahar Bagh was similar to a Persian carpet conjured in three dimensions and surprised European visitors such as Chardin, whose response was, “I have never seen such beauty in another city” (quoted by Ferrier, 1996).

Exploring the maps which travellers specially Kaempfer recorded from Safavid Isfahan, we understand that not only the wholistic entity of the city was a garden, but also the name of Chahar bagh boulevard have been derived from the pattern of each individual garden created along both sides

Since almost all the components of the Chahar Bagh – the pools, the canals and the pavilions – have been demolished due to the wilful destruction during the Qajar Period, and the ill-considered modernisation attempts in the subsequent Pahlavi Period in the early-twentieth century, a comprehensive architectural documentation was infeasible. No detailed studies of Chahar Bagh and its pavilions exist; therefore, the main sources available on Chahar Bagh are the writings of the historians and travellers who had a journey to Isfahan during the seventeenth century. Some of the travellers who visited Isfahan during the period of Safavid period were: Pietro Della Valle (in Isfahan in 1619), Thomas Herbert (1628), John Chardin (1660s-70s), John Fryer (1677), Engelbert Kaempfer (1684-85), and Pascal Coste (1841). (Ahmadi, 2016) With collecting and analysing the notes, sketches and maps which the western travellers provided, we know the Safavid Chahar Bagh is an extensive boulevard, built under Shah Abbas I starting from the west side of Maidan-i-Shah, running some four kilometres from the Royal Gate (Darvazeh Dulat) to the Zayandeh Rud River, and terminating at the Hizar Jarib Garden – a royal estate south of the river. Engelbert Kaempfer stated that more than 30 gardens of the court and government lined both sides of the Chahar Bagh among which some were developed as residences for the aristocracy and some for public use. These gardens were tended and watered via various ramifications of the river called “ Maadi” (Kaempfer [1712] in Wilber)

of the street. From more than 30 gardens listed in Kaempfer maps, Today remain only two. The rest was destroyed intentionally or due to the neglection after the fall of Safavid dynasty. Figure 17 shows the remaining Persian gardens of Chahar bagh and their current location.

sketches of western travellers or mentioned in their journals are now entirely disappeared from the face of the city. Figures 18 shows the location of some of the famous examples and a glimpse of their appearance before demolition in 19th and 20th century.

Famous gardens which are depicted in photos and

Although not much of the physical embodiment of

the gardens of Chahar bagh exists today, it is argued that their memory and essence survived in other ways and transferred to the next generations. In the next chapter it is being discussed how exactly this survival and transfer become possible.

Gardens City Fabric

Chehel-Sotun Garden

River

Fig 14. Wikipedia

Goldasteh garden

Fig 15. Author, 2020

Hasht-Behesht Garden Jahan-Nama garden

Ayine-Khaneh garden Zereshk Garden

Hezar-Jarib garden Demolished Persian gardens

Demolished Persian gardens

Existing Persian gardens

Chahar-Bagh Passageway

Fig 16. Jean Chardin, 1663

Fig 17. Author, 2020

Fig 18. Author, 2020

Namakdan Pavilion

arts aim to place human being in the presence of Holy devine by creating order in space. Clearly, harmony, proportion and continuity in spaces are pleasurable and chaos, disorder and visual disorganization are inconvenient in the practiced arts of this period. (Tavassoli, 1992& Ardalan, 1973)

How did the “Essence” of Persian garden survive?

CHAPTER 3

Fig 19. Author, 2020

textile

How did the Persian garden survive through the other arts?

tiling

This current, known as “Isfahan school of thought”

Iran’s traditional architecture and art is originated from monotheism and accepting the divine unity. God created the world based on discipline, order, and beauty. therefore, the Architecture must try to restore order in environment. the traditional

The mystical epistemology of Isfahan school of thought was mirrored in Safavid era by Shah Abbas the Great (16 AD) through his ambitions, exceptional capacity, and artistic sense. Aided by the wealth, security, and strong central government that his reign had fostered. At this time a new period in Persian arts emerges where the enriched, sensationally coloured and imaginative details developed by the predecessors become unified into meaningful ensembles of immense scale and grandeur (Pope, 1965) and was later referred to as “Isfahan School of arts”. It resulted in the formation of complex geometrical concepts which were

Parallel to the pre-planed expansion of Isfahan and developing Chahar bagh, Safavid authorities supported many baranches of art and crafts such as painting and carpet weaving with various projects for the court or public use, leading gradually to a dialogue between artists and the society. On the other hand, the transfer of traditions, beliefs and even artistic perception in Persian culture was always based on heart-to-heart, master-to-pupil education in contrast with the written and recorded method of western culture. In the long list of arts which preserved and safe-guarded the concepts of Isfahan school such as Persian garden, the ones which were dealing with the visual and textile senses were on the peak of interest. Naturally being more funded, these arts had the opportunity to become more flourished and well known to the eyes of the world. Nonetheless, any of these arts preserved one or many specific intangible aspects of Persian garden due to their nature. Following, they will be introduced and two including Miniature and Carpet weaving will be discussed in detail.

Metal engraving

To Iranian artists and architects the concept of Persian garden was not just a mixture of soil, water, and plants. But memories, feelings, and other intangible qualities which were aslo in connection with other forms of arts and had roots deep in the culture and beliefs of Iranians.

The arts and architecture in Iran were always a physical tool of philosophical views.It is argued the practice of Iranian art reached its climax in Safavid era, during which their capital, Isfahan became a city-scale scene for statesmen and artists to exercise their ideas, their religious, philosophical and mystical beliefs supported by a strong central government. Various forms of art were more than an aesthetic experience but they were symboles of a greater relationship between human and God (Shakiba, 2013; Ardalan, 1973).

One of these spiritual concepts was the notion of Persian garden, Mirroring the concept of “Eden” which was not only an inspiration for architects and builders but also for other artists to depict and preserve one or many qualities of garden. Many famous Persian artists which were known to the world for the art of miniature, carpet weaving and tiling( Qashani) such as Kamāl ud-Dīn Behzad were nurtured and later practiced in this school.

Carpet

However, while the actual gardens were under destruction or transformation due to the ill contempt of next authorities or neglection or urban modernization, another “current” was parallelly at work to keep the pattern, spiritual components and other qualities of Persian garden safe.

The Isfahan school of thought

The concept of unity in art and architecture has resulted from Sufism spiritual thinking, where the unity of one (God) and his beloved creation (Human) is celebrated, and plural details all mirror the one. every element and form are comprehensive, individually and combined. Mathematics and geometry played a deterministic role in architecture and visual arts. The geometrical patterns prevail s the organic and natural motifs and Symmetry had became a powerful tendency in Iranian arts at the time.(Arefian and others, 2014)

Arts as saviours of gardens

Miniature

As discussed in previous chapter, not much of the physical embodiment of the original Persian gardens remain today compared to the ones which were demolished. Many of them were altered through time and now are indistinguishable from the original form and pattern.

has led the preservation of Persian garden’s intangible heritage through time until today. To discover and investigate this philosophical and artistic current, we need to rewind the history line back to 400 years ago, the peak of the Safavid dominance in Iran.

Not only architecture but also other arts such as carpet weaving and miniature represented a composite of world views and cultural idioms . Nevertheless, they expressed an idea about the Persian garden as ‘The mirror of the perpetual paradise’. Statements as such are compared to the poems of the Sufy mystics that reveal conceptual essence of the Islamic art and architecture that addresses the search for order and harmony in the natural world, the intangible world, the human soul and the city. Such principles are repeated in cities that either are part of Iran or influenced by the Iranian culture. Concepts of unity-pluralism and order-chaos are of the common fundamental characteristics in art and architecture that can be seen as the material for depicting the presence of gardens in miniatures and carpet in geometric patterns.

considered as the containers of spiritual meanings.

Miniature

Being acquainted with the main elements of the Persian garden in cahpter 1, an adaptive comparison between miniatures and actual gardens results in the discovery of the similarities in their natural and artificial elements:

The word miniature is referred to a small illustration used to depict and decorate an important manuscript. This art has deep roots in eastern culture which nurtured and evolved in mid-Asian and middle eastern territories. In 2020, UNESCO declared the miniature as an art originated in Iran, Turkey Azerbaijan, and Uzbekistan and one of the masterpieces of the intangible cultural heritage of humanity.

A thorough investigation in the remaining art pieces of this school shows they depict the pattern of the Persian garden with all the natural and manmade elements, from the walls, entrance building, Main pavilion, and ponds to flora and fauna, garden atmosphere and users’ activities inside it with a remarkable order and specific expression. Persian garden in miniatures can be observed and introduces in two scales: 1. On the scale of Architecture in which buildings are located in the garden as mass objects. 2. On the scale of Nature which the garden is only a part of a bigger natural habitat.

Natural motifs in Persian garden Minature

1. Water: the most vital element in the Persian garden which runs through the straight streams and stored in pouds or geometric pools, is easily spottable in the miniatures. There, it exists within rectangular or hexagonal pools in front of the main pavilion and circulates through arranged streams all along the garden.

Towards the end of the ninth century, where abstract thinking was the dominant attitude among Iranian artists, a tendency rose to depict and present the world, realistically. Tendency to realism first appeared in famous Kamāl ud-Dīn Behzad’s paintings, He and his followers without losing touch with their predecessors, concentrated on illustrating their vision of the nature, human and his habitat which later was known as the “Behzad school of miniature” In this school, painting is combined with architecture and literature. The artist draws on a variety of literary themes, depicts the characters and scenes of a literal or an epic myths, and most of all turns his eye towards a nature called garden. But how far the miniatures of this school emphasize on an authentic representation of the Persian garden? Which architectural and natural features of the Persian garden were present in these pictures?

The observer goes from one element to another and gradually enters the two-dimensional space of the painting. There is no need to portray all the events, where the symbols convey the purpose.

2. Flora: In general, plants were planted in the Persian garden for three purposes: creating shade, using the product, and decorating the garden. The bulk of garden plants were shading and fruitful trees. Cedar was the favourite tree in the eyes of Iranian architect, and we can witness its presence in almost all of the miniatures too. Along with it there were always deciduous trees such as plane tree which proves the intention of both architect and painter to show the contrast in cold seasons. As of the flowers, Roses, jasmine, lilies with different colors were planted in the bushes of the garden and were chosen for the miniatures based on the location or chromatic prefrences.

Fig 21. Mirza Ali miniaturist, 1543

Fig 20. Mirza Ali miniaturist- 1542

In the architectural view, the garden is a large plot of land outside the dense texture of the city walled and enclosed. While the natural point of view shows that some parts of the garden were also used for other purposes such as entertainment, interactions, strolling, and hunting within a larger territory of wild nature.

• Fence: red or gold railings in the pictures that separates the components of garden from outside world.

• Ornamentations: One of the prominent features in miniatures is the existence of decorative shapes and motifs. These ornaments are seen in a variety of types such as Geometric motifs, Arabesque and animal shapes.

• Central Pavilion: The main architecture of the garden is called the main Pavilion or “Koshk” surrounded by attached mansions. The Koshk have a main porch that is the place for ascention of the the king with the rest of the royal family on a

Ultimately, In the actual three-dimensional garden, the observer can move in different directions, while in the miniature, the painter can only makes it possible for the observer to move on different paths by breaking down the laws of perspective

Architectural elements in Persian garden Minature

platform above the level of the courtyard. In front of the main porch, there would be a pond and an arena which provided sitting for the rest of the court. The perspective used here is the axonometric view.

Two rather important case studies in inverstigating and understanding Persian miniatures are “Khamse Tahmasbi” with 17 piece of miniatures and “Shahnameh Tahmasbi” with 258 pieces. The landscapes, color pallet, and personages in these projects help to study and detect the common concepts between Persian garden and the art of miniature.

Antique Persian carpets in the chahar bagh (fourgarden) layout have a long and unique reputation among the collectors. Apart from a handful of late 16th/ early 17th century carpets attributable to Safavid south Persia (Kerman), all known examples woven in wool on a cotton foundation, were made during the 18th century in workshops in northwest Persian Kurdistan. This production died out by the early 19th century. Garden carpets can be classified into three groups according to their designs:

3. Architectural elements: Fences, entrance, central pavilion, subsidiary pergolas, and ornamentations are all the elements which are present in great detail in both Persian garden and Persian miniature.

• Subsidiary pergolas: In many paintings, the king or governer is in a ceremonial position sitting under the shade of a pergola. This position is in the form of a throne, located on the carpets about half a meter above the ground with a square, hexagonal or octagonal plan.

Omar. After that, as far as we know, the ‘garden’ carpet theme lay dormant for about a thousand years.

Many features of The Persian Garden are mirrored in the miniatures. The study of selected images in the “Shahname Tahmasbi” and “Khamseh Tahmasbi” shows that these projects portray the Persian garden with all of its natural and man-made elements. But not necessarily in the architectural realistic way. In Persian miniature, the components of space are always perfect, but the wholistic entity is rarely complete. In the studied works, the whole composition would not be comprehended at once.

Fig 23. Sultan Muhammad, 1445

Carpet Although the garden imagery abounds in Persian poetry and painting, surely the art form which most successfully depicts and conveys the layout, beauty, and serenity of the Persian garden is the carpet. Most of the illustration of gardens that appear in Persian carpets combine an aerial or bird’s-eye view of the classic four-part garden (chahar bagh) with bands and squares of pavilions, trees, flowers, and birds shown in vertical projection.

Central Pavilions in Persian garden Minature

Perhaps the earliest literary references to a ‘garden’ carpet are to the so-called ‘Spring Carpet’ that graced the enormous audience hall of the 7th century Sasanian emperor Chosroes (Khusrow) II in his palace at Ctesiphon. it was said to depict a garden with trees, paths, flower beds and blossoms worked in silk, precious stones, gold, and silver threads. Following the Arab conquest in 637 AD, this carpet was cut into pieces and distributed as booty to the troops at the behest of the Caliph

Ornamentations in Persian garden Minature

Table 1. Author, 2020

Fig 22. Mirza Ali miniaturist, 1543

• One category features directional landscapes with trees, like the exquisite “Tree and Garden” carpet in the Philadelphia Museum of Art or the “Mahal Tree carpet” in the Victoria and Albert Museum. An important variant of the “Tree” type of garden carpet is the Indian floral lattice group; these carpets exhibit various types of flowering trees, shrubs, and plants in each compartment. •In the second category of garden carpets, figures of animals and birds are incorporated into landscape tableaux to create visions of a “Paradise park.” Examples of the “Paradise park” group include the Stieglitz carpet in the Hermitage museum, the Safavid fragments in the Montreal Museum of Fine Arts and Persian and Mughal carpets in The Metropolitan Museum of Art. • The third and most characteristic type of Persian garden carpet is one which presents an architectonic, map-like plan of a formal, walled garden divided by walking paths and water channels into four or more plots filled with flowers, fruit and shade trees, and various animals. The seventeenth century Persian garden carpets in the Jaipur Museum, the McMullan garden carpets now in the Fogg Art Museum and The Metropolitan Museum of Art, and the Wagner carpet in the Burrell Collection are good examples of this category. Following, the two examples of the historical carpets from “Chahr bagh Garden” pattern will be investigated and their tight connection with

Garden Carpet (2)

“ Askandr meets Socrates” , the 15 century, Nazami kh asmse. Source:Uluç,2006: 48

Pavilion Pond

“ G arden carpet (Garden bricks, carpet) ” , Northwest of Iran, 17 AD, Cambridge Museum . Source: Grube, 1967, 148 -49

classic chahar bagh, However, the Wagner carpet does not follow the standard plan with a vertical central water channel intersected by a large horizontal channel to form four rectangles planted with trees and flowers. Instead, two channels run the length of the carpet and are joined by a horizontal channel that does not extend to the lateral edges of the rug. At the point of intersection is a stepped rectangle, which is a repaired area that may have originally contained a pavilion.

“ Chaharbagh or Golestan ” , Northwest of Iran, 18th, Metropolitan, New York . Source: Khansari, 2004:51

Contemplating both miniature and carpet art, we will face undeniable common points which they share regarding Persian garden. Table 1 shows a comparison of composition in garden carpets and garden miniature.

“ Garden carpet, Kurdistan ” , 12th century AH, Collection of Lord Abarkanoui . Source: Pope, 1977:127

Fig 25. Albert Hall Museum, 1630

Though the pattern of the carpet is based on the

Fig 27, MET Museum, 17th century

Similar to miniature and carpet, there are other branches of Iranian arts which the artists took inspiration from the concept of Persian garden and reflected one or several qualities of it within their artistic products based on the nature of that specific art. Since we had a thorough explanation about the first two arts, a summarized introduction of the rest of this family will be sufficient:

Painting (3)

Pavilion

Other arts to the rescue of Persian garden

“ Barbed musician for Khosrow ” , Mirzaali, 950 -950 AH, Khamseh Military, British Museum . Source: Karimov, 2005:138

“ Chaharbagh Carpet, Kurdistan ” , late 12 century A.H, Metropolitan Museum of New York Source: Wilber , 2006: 35

Most of the trees and plants in the Wagner carpet are rendered in a botanically imprecise way, yet the profusion of foliage and blossoms reinforces the impression of a delightful, perfumed bower.

Pond

“ The talk of the physician ” , Aghamirak, T he 9th century A.H . Source: Karimov, 2005:48

Garden Carpet (3)

Fig 24, Glasgow Museum, 17th century

Painting (1)

Composition

Pavilion

Water stream

Tiling (Qashani)

Painting (4)

It is the third oldest-known Persian garden carpet, dating from the seventeenth century. The layout of the carpet evokes an image of the earthly paradise as inspired by the description of Paradise in the Quran. Water channels divide the walled garden and meet at a central pool. On the banks of the waterways trees, bushes and shrubs blossom and bloom all at the same time; and animals (both predators and pray), birds of all types, multi-coloured butterflies and moths inhabit the garden. Fish and ducks populate the waterways, which the shimmering waters inside are cunningly illustrated by the drawing of a lattice pattern with varied thicknesses of line and colour.

Pavilion Composition

Garden Carpet (4)

The Wagner carpet:

Fig 26. MET Museum, 18th century

Persian particular way of tiling or “Qashani” or “Kashani” is a vernacular decorative art which had been popular in Iran in the 16th to 18th century, becoming the basis for decorating the walls of mosques, palaces, shrines and tombs. It is a square-shaped ceramic tile which uses floraldepicting 4- or 6-sided glazed tiles, decorated with blue, cyan, green and sometimes red colors. (Wikipedia) The name Qashani is derived from the city of “Kashan” in the central parts of Iran and close to the Safavid capital, Isfahan where these glazed tiles were mostly made.

“ The urban man and his robbery from the rural gardens ” , the 973 A .H, Haft Orange Jamie, the Washington Museum, Freier Gallery . Source: Corkyan , 1998: 122

Garden Carpet (5)

The format of the Jaipur carpet is a bird’s-eye view of the rigid rectilinear plan of the most strictly construed Chahar bagh layout. It shows the four quadrants of a garden separated by two large channels filled with rippling water teeming with fish, waterfowl, turtles, and fantastic animals. The channels meet at the center of the rug at a large square pool, where an elaborate pavilion and throne appear to float. Each quadrant contains secondary water channels and square beds of trees and flowers bordered by bands of more trees and flowers, all presented in vertical projection.

“ G arden carpet (Ga rden bricks, carpet) ” , northwest of Iran or Kurdistan, Metropolitan Museum of Art, New York . Source: Pop, 1977:1128

Viewing Angle

Painting (2)

Garden Carpet (1)

The Jaipur Garden Carpet: In 1937, a long forgotten chahar bagh carpet was discovered in a locked storage room in the abandoned palace of the Maharajas of Jaipur at Amber Fort. Knotted in the manner associated with carpet production in Safavid Kerman, it was probably woven between 1622, the accession date of the Jaipur ruler who built the palace at Amber, and 1632, the date recorded for the earliest inventory of the carpet. On the inventory label the carpet is described as being of foreign manufacture. This is correct because of materials, structure, colors, and details of pattern, it was woven in Kerman, Iran.

was referring to the “perpetual paradise” or Eden. The Persian garden as an earthly example of Eden offers a noticable inspiration for both abstract and realistic patterns of the tiles. The floral pattern often consists of natural flowers such as lily, cloves, roses and cypress trees which were found easily in the gardens.

Iranian Painting Composition

Pavilion Pond

Painting (5)

Viewing Angle

Garden Carpet

the fundamental elements Persian garden will be discussed.

The tile work had often been decorated by the inscription, floral and geometrical patterns. The inscription often provides Qur’anic verses which

“ The lover of the old Loose Vote and the fall from the roof ” , Ebrahim Mirza, the 10th century AD, Haft Orange Jamie . Source: Shrousimpson, 2003: 55

Table 2. Mohammadzade & Nourian, 2017

Fig 28. MET Museum, 1669

Fig 29. Cuerda seca, 17th century

Metal engraving

Textile

Engraving (Ghalamzani) is the art of carving patterns on various metals such as copper, brass, silver, and gold with the help of specific chisels and hammers. The origin of this art dates back to 3000 years ago. The Sasanian period (3rd to 7th century) was one of the periods for welcoming metal-engraving craft in Iran. During the Safavid era (1600 AD), Isfahan became the main center for engraving and remained in this manner since.

Iranian textiles that have been famous since ancient time reached their highest level of appeal for consumers in Safavid era regarding color variety, techniques of weaving, quality, visual beauty of the motifs and configuration. textiles of this period are influenced by the style of the painters who had a realistic tendency and paid attention to natural elements in small logs.

The artists here usually craft a complex, detailed decorated imagery from floral or faunal motifs. Not surprisingly, the natural essence of the Persian garden was always a source of inspiration for the artists of this craft and they presented usually its wild life and herbal habitat in their works.

Then main feature of this art in Safavid era is the closeness of painting to textile that commenced with the development of miniature. Many weavers and fabric designers were well-known painters who left beautiful and significant works in Safavid era. Consequently, it is obvious that both of these arts mutually affect each other.

Fig 30. Kalut metal industry, 1993

Environment and nature as the main themes was the most significant source of inspiration in Safavid fabrics and Persian miniatures. The cooperation of fabric designers and weavers leads to the reflection of miniatures in fabric

Fig 33. Sepasi & Hosseini, 2018

motifs in this era. A reflection best evident in the background of textiles which were mainly herbal motifs influenced by Tabriz painting school in the form of flowers, bushes, different kinds of trees and narrow, tall cypress favoured by painters of Tabriz school. (Hoseini, S., & Sepasi, Z. 2018)

What is happening with Persian garden, “Today” ?

Contemplating the inspiration which Persian garden had for the art of miniature and the tight connection of textile and miniature art, we can easily spot the reincarnation of the Persian garden’s elements in the woven textiles. This chapter had extensively introduced the arts which were associated and mirrored the concept, pattern, and sensation of Persian garden. In the next chapter, we will review their current situation and popularity and their relationship with the contemporary texture of Isfahan which leads to the Project’s design proposal.

Fig 31. Isfahan metal industry, 2006

Fig 32. Sepasi & Hosseini, 2018

CHAPTER 4

There is a two-way relationship between the miniature and textile art. We can observe floral motifs such as trees in their original miniature style in the woven textile and vice versa the pattern of clothes in miniatures meticulously have the abstract natural patterns which were a trend for clothing in that era.

In the previous chapter, we have explored through the arts which play a part in saving and safeguarding the notion of Persian garden and investigated their history, fundamentals and their relationship with the original Persian garden layout and with each other. The place As it is mentioned before, city of Isfahan has been stablished as the Capital of arts and culture in Iran also as the home to the last known traditional Persian gardens since the days of Safavid era. That means not only the physical embodiment of some of these gardens remain in Chahar Bagh boulevard in Isfahan, but also artists and craftsman kept alive the foretold arts and transferred it from generation to generation.

Fig 34. Engelbert Kaempfer, 1685

However, the contemporary fabric of the city has

been altered with the latest urban developments, modernization, and changes in socio-economical equations. 400 years ago, Chahar bagh which is the axis of interest and concentration in this project was a public space, tended and filled with natural elements such as water and plants with private and public block of gardens all along it. But today, almost all of the thirty gardens which Engelbert Kaempfer mentioned and meticulously mapped are destroyed. Although Chahar bagh remained the main city axis, but it is surrounded with different functions, from residential to infrastructural. In the contrast with the northern half of Chahar bagh boulevard which is located in the upper part of river in the well-preserved historic and touristic district of the city, the southern part “Chahr bagh-e Bala” had lost almost the entire gardens along it. For the past 90 years these blocks had turned into residential complexes, Governmental headquarters, and industrial areas. However, one of these blocks which is the site for an old, abandoned textile factory now remains empty and promises a great potential for regeneration.

The purpose

The precedent

Carpet in the Grand Bazaar

On the other hand, the aforementioned arts, and crafts in previous chapter are fortunately being practised and held alive in Isfahan, Today. However, their significance as a cultural heritage and their important link with the notion of Persian garden remains unknown to the bulk of Iranian society. Furthermore, there is not a specific spot in the fabric of the city which can be considered as the central hub for each of these arts. And there is no meaningful interrelation between these spots regarding their common role in safeguarding the concept of Persian garden. Each of these arts are distributed as follows:

Engraving in Naqsh-e-Jahan square

Guévrékian designed a small garden with the intention of creating something that was at once “Persian” and “modern.” He explained:

Tiling in Mosques and Madrese

• Miniature: First risen from the Armenian families living in Jolfa district of Isfahan, nowadays many miniature artists live and work in this district.

Textile in along the river

• Carpet: Traded traditionally in the Grand Bazaar of Isfahan, a passage of the bazaar is dedicated only to exhibition and dealing the garden carpets.

“As part of this Exposition, I very much wanted to have a garden conceived in a modern spirit with some elements of Persian décor. Because there is so little room in an exposition such as this one, I stipulated that there must also be a modern spirit to this garden.”(Hunt and Conan, 2002) The garden was triangular in shape, largely consisting of tiered triangular reflecting pools and planting beds. At the center of the ensemble was an electrically propelled and internally illuminated sphere of stained glass. Triangular-shaped planting beds of blue ageratum, white pyrethrum, red begonia, and green lawn bordered the pools, and the walls and floors of the basins were painted with colors and concentric patterns.

• Tiling (Qashani): Mosques and Madreses of the historic district of the city are the most complete exhibitions of this art. Miniature in Jolfa neighborhood

• Metal engraving: The main plaza of the city, Naqsh-e-Jahan Meydan is the original home to this art. Craftsmen have produced many artistic works there in the past 400 years.

Author, educator, industrial designer, polemicist, and architect, Gabriel Guévrékian is principally remembered today for a small garden he designed in 1925. It is the temporary garden for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes at Paris, often called “The Garden of Water and Light”.

Fig 36. Author, 2021

Due to Fletcher Steele, “The Garden of Water and Light” is an abstract, cubist interpretation of Persian garden, seeking above all to preserve the “Memory” of garden from the artist’s point of view. The Proposal

• Textile: After being woven in small workshops, it has been mass produced in the modern textile factories along Zayande-rud river contemporarily. Despite the touristic attractions which these crafts cause in their own area of influence, unfortunately there is no architectural and spatial interpretation to act as a platform for bringing all these arts in the public display or to transfer their message regarding the heritage of Persian garden. Fig 35. Author, 2021

Therefore, in order to:

1. Regenerate the lost public spaces in the vicinity of Chahr bagh-e Bala boulevard 2. Redefine a vessel for repairing the dialogue between society and arts 3. Recreate and cherish the “Memory” of Persian garden We need to a spatial interpretation. But which qualities this “Display of memories” should have?

Fig 37. J. Marrast, 2002

Taking inspiration by the garden of water and light, the aim of the project is to preserve the memory and to display a contemporary interpretation of Persian garden in a way which it builds a dialogue with the society, create a public space and ultimately regenerate a zone in the damaged vicinity of Chahr bagh-e Bala boulevard. Bringing all these purposes into one integrated architectural proposal is the subject of next chapter.

CHAPTER 5-ANALYSIS-PROPOSAL

Scope & boundaries of the Project

Design of “People’s Garden”, a Social space and a regenerated, contemporary embodiment of Persian garden After discussing the four “P” (Place, Purpose, Precedent and Proposal) briefly in previous chapter, this chapter focus on the design-based aspects of the project in detail. The site of the project is located in Chahar Bagh Bala street, Isfahan and it is selected because of multiple reasons: • The site is located exactly on the traces of a ruined block of a Persian garden which was built primarily in 17th century during the Safavid era in Iran. Therefore, it has a unique potential for the aim of the project: regeneration of a Persian garden. • Being located along the Chahar Bagh street, the site has a strategic position and special relation to the current urban texture, the river and city infrastructures. • Analysis of the surroundings show this block is the only abandoned, un-used piece of land which has enough capacity and potential for a public

space in the scale of a city as large as Isfahan. In this chapter, after the locational, historical, and general analysis, the current situation and views of the site and its surrounding will be presented. Then, we see how the resulted strategies will translate into the strategic maps and masterplan and finally shape the image of the “People’s Garden” as a regenerated, contemporary embodiment of a Persian garden, used by the society.

Built area- residential Services-governmental

Accessibility Abandoned big spaces- Potential for intervention

Green areas

Site Analysis: Connection with the city

Chehel-Sotun Garden

Alive Public spaces

To understand the relationship between the site and the city fabric, it is necessary to look for the way which we could interpret the identity of the site based on the similarities which we can find between the comparable well-known urban elements and the site itself.

Another helpful solution to understand the situation of the site within the city fabric is to examine the purpose of regeneration of the site which is primarily to return the site to people as a public place just like its original use in Safavid era. And to achieve this goal, the significant examples of public spaces in Isfahan has been introduced.

Once, the site was a block of royal garden built in 400 years ago and it is helpful to know the situation and connection between the current block with the survived similar gardens. The Chehel-Sotun and Hasht-Behesht gardens are considered as the only remaining Persian gardens in the Chahr-bagh street in their original form. These two gardens are part of the territory of the king’s court or “ Dowlatkhane” which is located today in the heart of the touristic center of Isfahan and in the vicinity of Naqshe-Jahan square. However, there is another type of traditional green space which remained throughout 4 centuries and it is Chahar-bagh boulevard. Although part of it was altered in time but the layout and the atmosphere remained mainly untouched.

Hasht-Behesht Garden

Chahar-Bagh Boulevard

“Alive” Persian gardens

The Chehel-Sotun and Hasht-Behesht gardens despite their age still functions as “alive” gardens for the users. Also, Chaharbagh boulevard is the most alive axis in the city because of its age and position. The two concentrated gardens are connected via Chahar-bagh boulevard to the site. Therefore, this connection helps to discover a solution for making the site alive as a garden.

Historical Persian Garden Historical Persian Garden

Alive Gardens

tin

The first public space is Meydan Kohne (or the old plaza) which was the first public space along with the grand bazaar. Despite its organic form the next space is the most famous plaza in Iran, Naqshe-jahan and has a geometric calculated pattern. Surrounded by the mass, these Meydans provides the platform for social interaction. But they are not the only social spaces in the city. The historical bridges over the Zayande-rud river are too the hotspots for gatherings and social closeness. Again the Chahar-bagh street connects these “Alive” public spaces with each other and finally direct them to the site of the project. Understanding the mechanism and behaviour of these public spaces to create an appealing social platform for the people helps to determine behavioural factors in the designing of the new settlements.

Kohne (Old) Meydan

Naqsh-e- Jahan Meydan

Historical Bridges

“Alive” Public Spaces

Central Public Space

tin

Al ive

or ga

rd e

Linear Public Space

Historical Boulevard-Garden

How could the site become an “Alive Persian Garden”?

How could the site become an “Alive Public Space”?

th e

Site Analysis: History line

16 21

A block of Persian garden, one of the royal gardens of Isfahan during the Safavid era A traditional layout of Chahar-bagh with a pavilion in the center Components: Wall, Pathways, Vegetation, Water, pavilion

18 77 Qajar

Safavid

Neglected and slowly abandoned under the next dynasty. Intentionally demolished by the Qajar prince in 19th century.

19 32

Brought out of the original function and renovated as a textile factory. (Industrial heritage) Industrial architecture with the mixture of brand-new buildings and old components

Original elements ruined and new extensions and component added during this period.

Wholistic change of the architectural and landscape pattern of the space.

Pahlavi

20 21 Today

Currently, abandoned with the shut-down of the textile factory. A mixture of different buildings and layouts from different historical periods. A great potential for regeneration to be used as a social, public space.

Site Analysis: Views & Current situation Northern border

Looking over the Eastern border

The ruined arches

The territory of the site is limited to the Zereshk street in the north. Rather a narrow street, it hosts residential buildings with the maximum of 5-7 floors on the other edge. With the length of almost 240 meters, the Zereshk street completely covers one of the sides of the site.

On the north-eastern corner of the site, the structure of the wall and the domes of the arched buildings attached to it is almost demolished. Scouting from the rooftop of the neighbouring buildings in the Zereshk street, we will have a dominant view over the eastern edge of the site. Except for an opening in the middle, there is no accessibility whatsoever in the eastern edge. Because the buildings are attached to the border of the site with no considerable distance.

Right next to the biggest open space of the site in the north-eastern corner, there are arched buildings dating back to the Qajar period in 19th century.

Industrial heritage

Ruined courtyard

Major courtyard

There are architectural and structural monuments all around the site just similar to this tower in the north-eastern area of the site which represent a 90-yearold industrial heritage.

Connected to the opening of the eastern edge of the site, there is a square shaped courtyard which once had architectural and landscape components such as a pool. Unfortunately, the with the neglection which happened to the place since almost 20 years ago these parts are now piles of rubble.

This part of the site which is located in the south-eastern corner is considered as the biggest open space throughout the whole complex. Surrounded by the buildings, it resembles a walled Iranian plaza called Meydan and it has a good potential for displaying the rehabilitated side of the Persian gardens.

An abandoned factory As it is obvious in the picture, the abandoned and in some parts demolished ruins are visible in the site where one day a textile factory once stood. The empty walled industrial halls with great areas have a significant potential for another use.

Arched buildings A relic from the Qajar period (19th century), these arched long buildings has surrounded all around the site and offers a different atmosphere due to its unique typology. Unfortunately, a great percentage of the ceilings and arches are damaged and need to be reconstructed.

The Chahar-bagh passageway Dated back to 4 centuries ago, this passageway still remains a tranquil place for the citizens to stroll in, although the car lanes are added to the street. This street is considered the main city axis in Isfahan which connects the site to the city center through passing over the river.

Passageways within the site Just similar to this picture, most of the avenues inside the site are covered with green elements such as trees and bushes. Although their current situation has been neglected for quite some time, but with care they can provide a good sense of direction and perspective once brought back to life.

Southern border

The site is limited to the Haft-dast street in the south. This avenue is wider compared to the northern edge, the Zereshk street and offers a two-way venue for the cars. The long outer wall of the arched building is seen as the façade of the site entirely and depicts nostalgic scenes with its vernacular clay material.

Porches Most of the smallsized buildings in the site have and appendix of beautiful porches which can be used as a welcoming entry to each of them.

Strong structure

The royal Persian garden

Aesthetics

The other side of Chahar-bagh

As mentioned before, on the parallel side of the street, the remaining part of the 400-year-old garden of “Zereshk” is located. This garden is now dedicated to hosting international guests of the municipality of Isfahan and plays an important role in portraying a contrast between the traditional patter of gardens of Isfahan and its current urban fabric.

On the other side of the street, exactly parallel to the western edge of the site, there are important functions. A commercial complex extended by its linear landscape design, the metro station and the remaining of a 400-year-old garden are the neighbours in the vicinity of the site. This side of the street also offers the widest line for the pedestrians.

As the closest building to the main entrance of the site, it has an important role to infuse the interaction between the site and the users. Fortunately, this building offers some positive points such as coloured glass windows.

The corner of the street This is the most significant connection of the corners of the site with the junctions of the city, where the Haft-dast street have an intersection with the Chahr-bagh street in the southwestern corner of the site.

The abandoned industrial halls of the complex are in good shape in terms of the structure, and it is possible to reuse these spaces only with the change of the envelope of the buildings which brings down the cost of regeneration significantly. Small courtyards

green

The management parts of the factory remain as the less destructed area in the entire site. The buildings and landscape components are in good conditions and can be used with the minimum level of interference.

Noticeable facades Because the construction of the textile factory dates back to 90 years ago, the facades of the buildings carry various signs of the eclectic motifs of both traditional and modern architecture together. Therefore, to respect the value of this heritage these facades must be kept and utilized in the new complex as well.

General Ideas

Startegies A)

Linear public open spaces

Preserve Buildings

Central public open spaces

Preserve Structure

Based on the information derived from analysis, several strategies are taken into consideration to regenerate the abandoned factory into an active contemporary garden for public use. Including:

In this strategy, Arts and People are the two key roles which the spaces form around them. A major part of the Mass or built area is restored to be a platform for displaying the arts which have a deep connection with Persian garden and the Void or open-air spaces is subject to an integrated landscape design for public use as a contemporary garden. A place for gatherings, education, and leisure.

Warp and Weft

Because of the strategic position of the site next to the Chahar-bagh street (the main urban axis), the proposed program reorganize the spaces to attract the maximum flow of users from Chahrbagh into the project. The linear zones in the left half the site act as passageways to direct the flow to the central zones in the right half which act as gathering spaces. For that to happen these zones work together like the warp and weft of a carpet and have a wholistic quality in terms of atmosphere and material.

The Triangle of Social space

The activities of this public garden are programmed based on both historical background and community requirements. Activity, Identity and Relation/Interaction are the three key groups for designated activities which regenerate the project into a Social space.

Identity (Safe-guarding the 5 Arts)

Preserve Mass Area

Utilizing open spaces as courtyards for the city

Mass and Void

Hall of Miniature

Hall of Carpet

Hall of Tiling Hall of Metal-engraving

Theme Bazaar

Food Pad

Tourism Center

StartUp Zone

Event Zone

Co-working Zone

Hall of Textile Contemporary Art

Exhibition

Installation

Identity

Social Space

Activity ( Leisure, Entertainment)

People’s garden

Activity

Mass and Void

Warp and Weft Creating North-South axes to absorb and direct the flow from the western side of the site from Chaharbagh avenue into the complex and forming spaces dedicated to movement and pause. The proportion and variety of these open spaces provide an opportunity for creating various activities

Utilizing 41% of the site (27000 m2 built area) after maintaining and preserving for activities related to the concept of Persian garden, acting as displaying halls while the open spaces of the site are used as the courtyards for the city and resembling a contemporary public Persian garden

Relation/Interaction

Relation/Interaction ( Conversation, Performance)

Center for Restaurant & Historical plants Cafe

Pavilions

Street Show

Union Club

Welcome Zone

Cineplex

Theater

Meeting Hall Water Garden

Startegy Plans

The Floating functions

People have two different behaviours towards the functions

The contemporary Persian garden is a social space which hosts the group of three functions including: Identity, Activity and Relation/Interaction which were introduced in detail on the chart and the pyramid of strategy. These functions are spread through the site with no physical boundaries in a way that they overlap each other and are present in all the four sides. Based on the project strategy, the combination of Relation/Interaction activities penetrate the site from the Chahar Bagh street. Afterwards, the user experiences the Identity functions and reaches the Activity functions. This distribution varies based on the movement from a certain point towards inside.

Organizing the functions Since the project is a complex made of movement and pause, the functions are assigned in all four sides of the site in a way that we could access each of the three purposes (Activity, Identity and Relation/Interaction) regardless of the direction. This variety aims to bring back the social life in all corners of the project.

- The attractive functions which satisfy the most general needs of the users. They have a natural appeal to users because of the answer which they provide for material needs. (the functions related to Activity and Relation/Interaction act this way) - The functions which invite the user to engage with them through creating a specific motive or unique purpose (the functions related to Identity act this way) Based on the project strategy and since almost all of the visitors enter the complex from Chahar Bagh street, the most attractive functions will be assigned to the furthest side of the site to the street, so it has the potential to absorb the users “Inside” and the functions related to motivation and Identity are assigned along the way for users to experience the atmosphere of the project spontaneously.

Performance

Conversation

The functions which invite and engage the users (A . I . R)

Activity

Entertainment

Leisure

The functions which engage the users by a certain motive (A . I . R)

Identity

Exhibition & Installation

5 Arts

The functions which attract the users easily based on natural needs (A . I . R)

Relation/Interaction

Invitation & Engagement

Master Plan

Welcome Zone Craft stores - A.I.R (Activity function) Street show club - A.I.R (Activity & Relation function) Co-working & Start-up zone - A.I.R (Activity & Relation function) Union Club - A.I.R (Identity & Relation function) Hall of Contemporary arts- A.I.R (Identity function) Hall of Miniature- A.I.R (Identity function) Hall of Carpet & Cineplex- A.I.R (Identity function) Hall of Metal engraving- A.I.R (Identity function) Cafe- A.I.R (Activity function) Hall of Textile & fabric- A.I.R (Identity function) Water garden- A.I.R (Identity function) Food pad- A.I.R (Activity function) Events Pavilion - A.I.R (Activity & Relation function) Theme Bazaar- A.I.R (Activity function) Hall of Tiling- A.I.R (Identity function) Open-air Exhibition- A.I.R (Activity, Identity and relation function) Open-air Theater- A.I.R (Activity & Identity function) Tourism center- A.I.R (Activity function) Theme Bazaar- A.I.R (Activity function) Cafe & Restaurant- A.I.R (Activity function)

Activity Functions Relation/Interaction Functions

Identity Functions

Plaza of Water- A.I.R (Identity & interaction function) Water Pavilion- A.I.R (Identity function)

Regeneration plans: Water

Regeneration plan 1: The main courtyard and the water pavilion The main courtyard is one of the most important zones in the complex. It offers the best chance to portray the landscape values of the Persian garden pattern in this project. Therefore, in the proposal it is dedicated to the most vital element of Persian garden: The water.

Regeneration plan 1

As one of the most important interventions in the site, the water pavilion values the element of water. This pavilion is to organize the space and functions around it. With a circular geometry, it creates a focal point in the center of courtyard and encourage the sense of unity. The pond beneath the pavilion offers a place for visitors to relax, interact and enjoy. The material of the ceiling is a mesh of light woods to provide shade in time of need as much as offering good natural lighting. This pavilion organizes the functions around it and Surrounded by arched buildings, the water pavilion offers a platform for social gatherings. It is also planned to be the centrepiece for the openair exhibitions from time to time. Also, people can continue their experience in by visiting the art halls, the theme bazaar or the tourism center for the historical plants. As it is depicted in the related imagination of the space, we can understand from the conversations of the visitors that all the neighbouring paths act as an axis leading to the main courtyard to reach Water Pavilion as a destination. Although there are other features related to the water element, such as water garden in the north area of the project, the pavilion is considered as a contemporary interpretation for the use of water in the landscape. Close to this pavilion several streams of water are designed which is visible in Masterplan to depict the movement of water similar to the traditional Persian gardens.

Regeneration plans: Green spaces

Regeneration plan 2: The secondary courtyard and the tourism center

Regeneration plan 2

The second plan propose a plan to regenerate the second courtyard. Again, this time one of the elements of the Persian garden, Plants are the inspiration to organize the space. On the traces of a demolished vault of the old garden, A new building is proposed with a goal connected to the plants of the area. This is the only fresh-designed architecture in the entire project while the rest of the buildings are preserved and renovated. This function is located in the edge of the second courtyard, surrounded by the existing and proposed green areas. There was once a diverse range of flora in the old gardens of Isfahan, today there is not much information or examples of it due to the neglection. Hence this building will be dedicated to reverse this neglection as the tourism center for historical plants. The center for historical plants exhibits the types of plants which were planted in the gardens of Chahar-bagh both in the inside (for flowers and seeds) and the outside (for trees and bushes). Simple information regarding the origin, biodiversity and the history of these plants are provided next to them for interested users. Furthermore, this center offers different courses about gardening and contemporary landscape design. In the other part of the second courtyard, a zone for the open-air performances and theaters is proposed and it is limited by the perpendicular planted trees on the edges.

Regeneration plans: Architecture (walls)

Regeneration plan 3: The arched vaults and surrounding buildings

Regeneration plan 3

Since the site is surrounded by arched narrow buildings dated back to Qajar period, they act as a buffer zone which separates the outside and interior parts of the projects. Most of these buildings are destroyed or highly damaged, especially in the ceiling. The regeneration plan aims at restoring and renovating these buildings and use them for the ACTIVITY purpose highlighted in the strategies. These buildings have a good potential to be used as a cafes, restaurants, Theme bazaar and similar service functions due to their vernacular and nostalgic atmosphere and their high arches made out of bricks. Additionally, because of their spread all over the site it is possible to distribute the ACTIVITY functions monotonously. Here, in the imagination picture, we can see how the traditional atmosphere of the arches works well with the function and make a unique experience for the users.

Regeneration plans: Architecture (central pavillions)

Regeneration plan 4: The main industrial buildings

Regeneration plan 4

Once in chapter 3 we have been introduced to the arts which had a deep connection with the Persian garden and succeeded to save the very essence of it while its physical embodiment is greatly damaged in the past 400 years ago, one of the strategies of the regeneration project is focused on displaying and cherishing these arts and crafts in the public eyes which is categorised in the IDENTITY section of strategies. Therefore, the main buildings of the abandoned factory are revitalized as the Halls for displaying the 5 arts and crafts which saved the essence of the Persian Garden. These arts and crafts include: Miniature, Carpet, Textile, Metalengraving, and Tiling. Each of these hall offers a space for displaying various information such as history and precedents of a unique art. The structure of the buildings was entirely kept. Thus, the industrial atmosphere with high ceiling and vast open spaces offers a good potential for diverse activities. Here, the interior space will turn into a multifunctional space to cover different functions such as museum, gallery, and workshops. For example, the imagination photo depicts the hall of Carpet, where the visitors are introduced to the History of this craft, the various garden patterns in carpets and have a chance to talk to the carpet weavers or even participate in activities such as weaving courses. There is also a place in each hall which gives craftsmen and artists to exhibit and sell their works.

Architectural components of the space

Landscpae components of the space Added architectural components

The added natural elements

Due to the high intensity of already existing built area in the project and the historical value as an industrial heritage, it is decided that new architectural intervention in the project must be limited. The new architectural elements which will be added to the existing texture includes:

The two important natural elements of the Persian garden, Water and Green area, are the elements which is also present in the landscape proposal.

• Pavilion of water • Center for historical plants • Landmark tower • The plaza of events

• Water: The water pavilion with a pond and streams in the south-eastern corner and water garden with the small shallow ramifications of water in the north-western corner of the site are proposed to reconcile the connection of people with this long-lost value. • Green spaces: the network of trees, bushes and different flora are designed in a way to direct the flow of the visitors and define intangible borders when necessary. Furthermore, the types of the tress are mostly elms, planes, cedars and Populus nigra which are the historical inhabitant flora of Isfahan and the Chahar-bagh street.

• Changing of the pavement in special places

Existing architectural components The bulk of the built area in the project is consist of already existing buildings. Although the structure remains healthy and strong these buildings had drastic situation prior to the regeneration. As one of the strategies in the regeneration proposal, none of these buildings will be demolished but restored with the same vernacular material and façade. Each of the main central halls are planned to be a platform for the IDENTITY of the place, introducing one specific art or craft in relation to the Persian garden. While the smaller buildings and the surrounding arched vaults are dedicated to ACTIVITY or RELATION/INTERACTION purposes.

The Carpet of landscape An integrated mesh of ribbons with different materials which together defines the main layer of landscape deign in the project. Various materials such as compacted soil, different breeds of grass and Thermowood are the warp and weft of this carpet. The pattern finds a specific shape in each area based on the function and use of that area, for example while it has a linear narrow pattern under the built areas, it turns into Zigzag, more open forms in the courtyards. The original idea of this carpet for landscape design is inspired by the close relationship between the Persian garden Archetype and the Carpet weaving craft which was explained in the third chapter in detail.

The garden of memory, a contemporary Persian garden for the people (Built Area)

The garden of memory, a contemporary Persian garden for the people (Open Landscape Area)

With the combination of new added components and already existing buildings the complex offers a variety of experiences to the society. Specifically, the built area offers the three purposes of ACTIVITY, IDENTITY and RELATION/INTERACTION.

With the combination of added natural components such as water and trees with the carpet of landscape the complex offers a variety of experiences to the society. Specifically, the open area consist of courtyards and passageways will become a platform for public enjoyment.

The organization of the built mass is planned to give the landscape open spaces more opportunities as leisure areas. In other words, the built area and the landscape work together to provide the visitors with more focused activities inside and more leisure experiences outside.

The organization of the landscape is planned to facilitate the flow of the visitors, provide them with safe, colorful and friendly spaces all over the project and invite them to spend their leisure time in a garden. The core of the Persian garden’s concept is to offer a moment of peace and joy within its safe walls. A purpose interpreted in this public contemporary garden. 49

The Water Pavilion The water pavilion As one of the most important interventions in the site, the water pavilion honors the high value of water in a Persian garden layout. As it is discussed before in the regeneration maps, this pavilion is designed in the largest courtyard of the site to organize the space around it. The material of the ceiling is a mesh of light woods to provide shade in the time of need as much as offering good natural lighting. Surrounded by arched buildings, the water pavilion offers a platform for social gatherings. It is also planned to be the centrepiece for the open-air exhibitions from time to time. In an

ordinary day, people can come and sit by the pond in the center of the pavilion and continue their experience in by visiting the art halls, the theme bazaar or the tourism center for the historical plants. Although there are other features related to the water element, such as water garden in the north area of the project, however the pavilion is considered as a contemporary interpretation for the use of water in the landscape. Close to this pavilion several streams of water are designed which is visible in Masterplan to depict the movement of water similar to the traditional Persian gardens.

The Center for Historical plants The tourism center for historical plants This is the only fresh-designed architecture in the entire project while the rest of the buildings are preserved and renovated. This function is located in the central part of the courtyards, surrounded by the existing and proposed green areas. As explained in the regeneration maps, while there was once a diverse range of flora in the old gardens of Isfahan, today there is not much information or examples of it due to the neglection. The center for historical plants exhibits these types of plants which were planted in the gardens of Chahar-bagh both in the inside (for flowers and seeds) and the outside (for trees and bushes). Additionally,

these trees are planted all over the site too. The architecture of the center is inspired by the frontal porches (Eivans) of the demolished pavilions in Isfahan gardens such as Ayinekhane palace and the material have been chosen from glass and wood to represent the sense of transparency in traditional gardens. Simple information regarding the origin, biodiversity and the history of these plants are provided next to them for interested users. Furthermore, this center offers different courses about gardening and contemporary landscape design.

The Hall of Arts & Cineplex

The Arts Halls

The monumental tower

As defined in the strategies, the main buildings of the abandoned factory are revitalized as the Halls for displaying the 5 arts and crafts which saved the essence of the Persian Garden. These arts and crafts include: Miniature, Carpet, Textile, Metal-engraving, and Tiling. Each of these hall offers a space for displaying various information such as history and precedents of a unique art. The structure of the buildings was entirely

kept. Thus, the industrial atmosphere with high ceiling and vast open spaces offers a good potential for diverse activities. Therefore, the interior space will turn into a multifunctional space to cover different functions such as museum, gallery, and workshops. The other buildings such as arched surrounding vaults with their distinguished architecture are used for other functions such as café, restaurant, and theme bazaar.

Extra to the proposed tower which acts as the landmark of the project, there are two other towers attached to the industrial halls. Because of the skilful and delicate brickwork in the façade of these towers, they will be preserved and used with some modifications as skylights in the halls. Thus, the visitors benefit from the aesthetic and function of the towers.

Cineplex & theater area One of these towers is located between the central Café and the Hall of metal-engraving and the other is between the textile and the tiling halls. Despite their traditional old façade, the towers create a certain appeal to the visitors and due to their central location, they act as interior landmarks within the site

Extra to the zone beside the tourist center which is dedicated to the open-air performances, there is a building for the cinema and theatrical performances. This function works closely with the arts halls to complete a mutual task. The purpose is to provide a platform for festivals and shows which are related to the history of the city, its landmarks, the culture, and most of all to introduce the concept of Persian garden and Chahar-bagh complex to spectators.

As it is obvious in the picture, the primary structure of the industrial building is reserved, and an envelope of acoustic curtains is added to boost the architectural sense of the space and helps with the better vocal performance of the saloon. The visitors have access to all other functions of th project because of its central position.

1. The Persian garden characteristics are still unknown to even many members of the Iranian society. The proposal for this public garden is an attempt to raise awareness about this heritage. The quality of open spaces and the functions of the built area are designated and directed to serve this goal. 2. The context of the project, city of Isfahan once hosted more than 30 gardens at this scale only in the Chahar-bagh boulevard. The contemporary regeneration of one of this gardens could be considered a start to introduce a sustainable, compatible method for regeneration of other historical sites for the benefit of the society. 3. For a garden to be a public social space, it should have a dynamic relationship sprightly with the needs and demands of the public sector. In other words, it must respond effectively to the contemporary and ever-changing needs of the users. Hence, adaptability and interaction are the key factors to be considered while designing such spaces.

society is as vital as its physical health. Hence, a public garden at this scale with its pleasant green spaces and fresh air is a helpful tool to ensure our physical and mental health. Thus, we should start searching for similar environments which helps safe-guarding society’s health, education, and leisure.

Ahmadi, M., (2016). Chahar Bagh Avenue, Isfahan: Genesis and Demise. Nottingham Trent University, Nottingham, UK.

Observations

Amiri, S., (2009). Isfahan and development of the tourism industry, Danesh Nama, pp. 186-211.

1. during the whole process of investigations, it is denoted there is no mentionable attempt by the responsible authorities to address the issue of demolished historical gardens in Iran. The projects in this area are mainly developed in the theoretical and academic without any tangible results. 2. Developing this thesis is started from the personal interest about city of Isfahan and historical gardens of Iran. However, along the way, valuable findings widened the horizon and introduced meaningful connections with the historical and cultural heritage of other countries from India to Spain.

4. The identity of the space comes from its purpose and function. People and Arts are the two phenomena intertwined with the identity of the space from the first. The mass of the project offers platforms to display the Arts while the voids are organised as a landscape for the people. Together they shape the collective identity of the space.

3. The findings of searches have proved that many of the original arts and crafts in Isfahan are suffering from mismanagement and neglection in organizing, introducing, and marketing sectors. Although this proposal aims at reorganizing the arts and crafts which are in connection with the notion of Persian garden, there a crucial need to address the issues and problems of other suffering arts and crafts.

5. Living in the global pandemic of COVID-19 for the second consecutive year proves Public spaces should not be considered and treated like before. While the individuals can not get physically close to each other like before, the society can not remain apart and isolated. The psychological health of the

4. And at the end about the people. People can involve with a certain context and change it unconsciously based on their needs and priorities. Thus, in the projects similar to this proposal it is vital to consider the maximum level of adaptability when we are dealing with the public realm.

Ansari, M., Saleh, E., (2014). Comparative Studies on Miniatures of Tabriz School and Iranian Gardens Architecture in Timurid and Safavid Epochs, Negareh , Volume 7 , Number 22, Tehran, Iran. Ardalan, N., Bakhtiar, L. (1973). The Sense of Unity: The Sufi Tradition in Persian Architecture, University of Chicago Press, Chicago/London. Arefian, F., Estaji, H., Jabbari, M., Koledova, A., Fatemi, M., (2014). The Middle Eastern Cities and Isfahan School of Urban Morphology. In: Oliveria V, Pinho P, Batista L, Patatas T and Monterio C (eds.) (2014) Our common future in Urban Morphology, FEUP, Porto.

REFERENCES

CONCLUSIONS AND OBSERVATIONS

After the development of this thesis project, the following conclusions is derived:

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Eternal Springtime: A Persian Garden Carpet from the Burrell Collection, (2018). https://www. metmuseum.org/blogs/now-at-the-met/2018/ eternal-springtime-wagner-garden-carpet. Gough, M.Z., Accordion, J. (2013). ‘Public Gardens as Sustainable Community Development Partners: Motivations, Perceived Benefits, and Challenges’, Urban Affairs Review, 49, pp. 851–887. Habibi, S. M., (1995). ‘Isfahan School, Exaltation and Promotion of government Concept’, First Iran Architecture and Urban Building History Congress. Ark-Bam. Kerman Cultural Heritage Organization of Iran. Tehran. Hoseini, S., & Sepasi, Z. (2018). A Comparative Study of Safavid Fabric Designs with Miniatures in School of Second Tabriz (With a focus on the Works of Sultan Mohammad, Mir-Musavvir and Mir-Sayyid Ali). Journal of History Culture and Art Research. ICHHTO., (2010). Additional information on the Persian Garden. Iran: Iranian Cultural Heritage, Handicrafts and Tourism Organization. Janipour, B., Mohammadi, N., Rezaei Mir-ghaed, G. (2020). ‘The Convergence of Persian Architecture with Miniature’, The Monthly Scientific Journal of Bagh-e Nazar, 17(90), pp. 81-92. Karimi, K., Motamed, N., (2003). ‘The Tale of Two Cities: Urban Planning of the City Isfahan in the Past and Present’, 4th International Space Syntax Symposium, London.

Katouzian, S., (1986). ‘The Sense of Place in Persian Gardens. In Environmental Design’, Journal of the Islamic Environmental Design Research Centre II, 42-47. McChesney, Robert D., 1988, Four sources on Shah Abbas’s building of Isfahan, Muqarnas, Issue 5, PP 103-134. Mohammadzadeh, M., Noori, S. (2018). ‘Study of Structure and Viewing Angles of Persian Garden in Persian Garden Paintings and Garden carpets in Safavid Period’, The Monthly Scientific Journal of Bagh-e Nazar, 14(52), pp. 27-36. Oosterman, J., (1992). Welcome to the pleasure dome: play and entertainment in urban public space: the example of the sidewalk cafe, Built Environment, Volume 18, Issue 2, PP 155-164. Berescu, C., (2011). Cities of tomorrow. Challenges, visions, ways forward. 10.2776/41803.

Figures Fig 1, 3.Persian garden as a public space, Penelope Hobhouse, 2003

Fig 32. Persian garden motifs in textile, Sepasi & others, 2018

Fig 4. Aerial view of Taj Mahal, Giles Tillotson, 2008

Fig 33. Similarities between miniature and textile with the pattern of Persian garden, Sepasi & others, 2018

Fig 5. Chronical and Geographical journey of Persian garden, Maryam Ahmadi, 2016

Fig 34. Thirty gardens along Chahar Bagh Avenue in Safavid era, Engelbert Kaempfer, 1685

Fig 8. Development of Safavid Isfahan, Habibi, 2008 Fig 10. Lynch’s 5 elemnts in Isfahan, Maryam Ahmadi, 2016

Fig 37. Guevrekian’s drawing for “The Garden of Water and Light”, J. Marrast, 2002

Fig 11. Safavid Chahar-bagh, Cornelis deBruyn, 1718

Fig 2,6,7,9,15,17,18,19,35,36 illustarted by the auther as a result of personal analysis

Fig 12. Sketch of Chahar bagh, Pascal Coste, 1840 Fig 13. Layout of Persian gardens in Isfahan, Arefian & others, 2014

Tables

Fig 14. Aerial view of Chahr bagh, Wikipedia

Pope, A. (ed.), (1977). A Survey of Persian Art from Prehistoric Times to the Present. Vol. 3, Architecture, Its Ornament, City Plans, Gardens. (Tehran: Soroush Press, Tehran) 1407-1410.

Fig 16. Map of ruined gardens of Chaharbagh, Jean Chardin,1663

Shahcheraghi, A., (2012). Paradigms of Paradise. University of Tehran, Tehran, Iran.

Fig 21. Townman at the gates of garden, Mirza Ali ,1543

Shakiba, V., Fathi, M., Bahrieh, P., (2013). ‘The Role of Opposites in the Isfahan School Architecture and Urban Planning’ Journal of Basic and Applied Scientific Research 5, 89 - 95.

Fig 22. Recreation at Garden,Mirza Ali ,1543

Tavassoli, M. & Bonyadi, N., (1992). Urban Space Design 1 (Urban Planning and Architectural Research Center of Iran)

Fig 24, Wagner Garden carpet, Glasgow Museum

Turner, T., (2005). West Asia and Islamic Gardens 500 BCE -1700AD. Garden History, Philosophy and Design 200BCE- 2000AD. New York: Spoon press.

Fig 26,27. Chahar Bagh carpet, MET Museum

UNESCO world Heritage index, (2011). Chapter on Persian gardens, https://whc.unesco.org/en/ list/1372/

Fig 31. Garden of Tranquility- engraved on brass, Isfahan metal industry

Table 1. Elements of the Persian garden available in Minature, Author Table 2. Visual analysis of composition and angle of view in garden carpet and garden miniature, Mohammadzade & Nourian, 2017

Fig 20. Barbod in Shirin’s garden, Mirza Ali, 1542

Fig 23. Khusraw at Shirin’s garden, Sultan Muhammad, 1445

Fig 25. Jaipur Garden carpet, Albert Hall Museum

Fig 28. Hasht Behesht Tile panel, MET Museum Fig 29. Cedar in the garden Tile panel, Cuerda seca Fig 30. Engraved silver plate, Kalut metal industry