Everything is in harmony: erosion at every scale, from the very large to the very small. Sign-making, too, has become like fast food: the disappearance of craftsmanship, graphic design, variety, taste. While the municipality busies itself with artificial embellishments and pointless additions, these real and existing works of art are being destroyed — or are being destroyed — with violence and tastelessness. In principle, the functional elements of a city, when they are good, are sufficient to make a city artistic, and there is no need for decoration and cosmetics (this is true of everything. Let us look at the cities we take pride in yet simultaneously destroy (!): is there any trace of cosmetics?).
Cafe Naderi, Hotel, Restaurant, Confectionery
24 # Western side — Ghaem Magham Farahani — Right
Omran Arcade — Southern side — Enghelab [S] — Passage Omran
408 # Southern side — Enghelab [S] # 408
Western corner of Bahar — Northern side — Enghelab
1936, Bombay — the cover of The Blind Owl with Sadegh Hedayat's handwriting and design. One cannot see this and set it aside, or worse, consider it something unimportant. Why this modernist/Deco (?) geometry based on the combination of circle and straight line, and why is the dot of the letter "f" enlarged? Answering such questions may be more difficult than explaining the Pyramids of Giza.
Western corner of Iranshahr — Southern side — Karim Khan
Northeastern corner of Valiasr and Taleghani