Taking a taxi from Tehran Imam Khomeini International Airport into the city, one cannot help but look at the seemingly random distribution of buildings along the road; an array of mismatched concrete blocks, worlds away from the images of Sheik Lotfollah Mosque that typically adorn the covers of Iran travel guides. “My observations about architecture in Iran are like that of many other countries that have changed in terms of architectural characteristics; Iran has changed too,” says Tehran-based architect, M. Reza Karfar. “Now we are in a time where everything is mass produced and we are just using and using, but not making memories with anything. That sense of belonging will, of course, go away. You see a 50 or 60, or 200-year-old house that just gets demolished and replaced by a 4 or 5-story building, and in 5 years they will demolish that 4 to 5-story building too.”
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Iran’s geography consists largely of a central desert plateau, surrounded by mountain ranges. Due to the country being mostly covered by earth, sand, and rock, Iranian architecture makes fantastic use of brick or adobe elements. Most of the buildings seen in larger cities such as Tehran and Isfahan are constructed using similar brick-laying methods as can been seen in other parts of the world, but certain constructions, usually ones that date further back, contain incredible geometrical treasures. And it doesn’t stop there - old Iranian architecture often contains a layer of tiles over the brick constructions that can create just as mesmerizing geometrical wonders. The art of creating complexity by using many incredibly simple elements is one that has been mastered in Iran. In an architectural world where construction has become hidden by layers of plaster and plywood, we could learn a lot from the beauty of Iran’s structural geometry, where skin and structure are (almost always) one and the same.
As the remnants of an empire that once covered almost the entire area from Greece to China, Iran is full of historic wonders. Due to the country's current political situation, it is not exactly a top tourist destination and as such many of these wonders are kept a secret from the rest of the world. As with any historical building, the ten sites listed below each contain a rich history within their spaces. However, Iran’s history is exceptionally complex, layered with dynasties and rulers whose influence extended way beyond modern-day Iran. These sites, therefore, are physical memories of the rich culture that underpins Iranian people today, despite the radical change in the country’s political sphere after the 1979 Revolution. Sacred sites for the Zoroastrians, for example, are still visited and remembered, despite the restrictions placed upon them by the Iranian government. The essences of these sites provide opportunities to learn about and empathize with the history of Iran, beyond what we hear in the news.
With their latest facade construction, Iranian architecture firm Sstudiomm explores the potential that brick can offer by utilizing parametric architecture. Instead of relying on unique construction elements for assembly on-site at a later date, in their new project (called, in full, "Negative Precision. On-Site Fabrication of a Parametric Brick Facade // A DIY for Architects") the firm considers how a simple mass-produced element like the brick can be assembled in unique ways by taking advantage of digital technology. While firms like Gramazio Kohler have already developed industrial methods of assembling brickwork following parametric designs, Sstudiomm aims for a more lo-fi approach, creating parametric brick walls using little more than the traditional construction methods found in Iran and a dose of ingenuity.
The winner of a competition for a mixed-use building scheme, London-based Kamvari Architects has unveiled the design for Zartosht, a 300,000 square-foot retail and office building in Tehran, Iran. The building's design is based largely on local cultural contexts, like the region’s reputation for renowned fabric and textile shops, and environmentalism, particularly with respect to solar energy.
For generations, nature has been held up as something to respect, to take inspiration from, to place at the center of architecture. Few new designs today are complete without some visualized parkland or tree placed implausibly high up on the latest visionary high rise development. But what do you do when nature ups and leaves? How can architecture respond? That’s the question that Mateusz Pospiech’s master’s thesis, completed at the Silesian University of Technology, attempts to answer by taking the severe example of the disappearance of Iran’s Zayanderud River and proposing the equally incredible solution: an enormous, six-kilometer-long ecologically sustainable megastructure along the dried riverbed, healing the scar both in the landscape and in the minds of Iranians.
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