A visual essay: mid-twentieth-century international modernist projects placed alongside Tehran’s interiors and façades to ask which designers and idioms might have shaped Tehran’s modernist register. The references across the four spreads include Gio Ponti (Denver Art Museum, 1971; Joo tiles; tableware), Eero Saarinen, Giulio Zappa, Libera, Craig Ellwood, Mario Fiorentino (Palazzina a Villa Balestra, Rome, 1954–57 — cantilevers), Richard Neutra, Roberto Burle Marx (Rio), Giuseppe Terragni (Casa del Fascio, Como, 1932–36), Erich Mendelsohn (Columbushaus, Berlin, 1931), Enrico Tedeschi (Mendoza, 1959), Pierre Koenig (Case Study House #22), Jørn Utzon (Bank Melli model 1958; Bank Melli on Enghelab St; ground-floor plan), Marco Dasso (Hotel Manfredino, 1962), Alvar Aalto (residential block in Helsinki — composite window shapes), Mies van der Rohe (courtyard houses, 1931–38), and Oscar Niemeyer. The closing plate reproduces a Villa in Zaferanieh, Tehran by architect Vartan Tatousian from the 1961 Villas issue of La Nouvelle Architecture (edited by Vartan).
Such wall systems are in some Tehran interiors. — editorial caption on the Gio Ponti tile panel.
Such delicate curtain wall elevations can be found in Tehran.
