Evaluation of the State of Architectural Theory in Iran Today

Architectural Publishing in the Persian Language

Among the fundamental characteristics of modern-era architecture is its simultaneous movement along two parallel tracks: the building track and the discourse track — activity in the realm of construction and building production, and activity in the realm of theory and discourse. Western architecture possesses a two-thousand-year heritage in architectural theory and discourse, beginning with the treatise by the Roman Vitruvius titled Ten Books on Architecture in the late second and early first centuries BC. This work served as a reference for theory and instruction throughout the Middle Ages and later became one of the primary sources of the architectural Renaissance. In the fifteenth century, with the writings of Leon Battista Alberti (1404–72), one of the founders of the Italian architectural Renaissance, titled On the Art of Building in Ten Books, architecture entered the modern age. In the sixteenth century, with Andrea Palladio’s (1518–80) work titled The Four Books of Architecture, the theoretical foundations of Renaissance architecture were consolidated. Thereafter, theory continued its unceasing expansion and development through the onset of modernity and then in tandem with it.

Beyond transformations in building materials, construction techniques, and the habitation and urban-planning needs of the industrial age, the scientism and critical philosophy of the modern era elevated the status of theory and discourse in architecture beyond what it had previously been. Theory and discourse in the modern period expanded and proliferated enormously. The writing of theory by the great architects themselves — alongside practice and building production on the ground — and the writing of criticism by critics, together with the publication of academic research and theorizing, all became part of the course of modern architecture’s evolution, transforming it into a vast and remarkable cultural production. Today, the construction industry and architectural education everywhere in the world constitute an extension and development of the Western tradition of architecture, of which criticism and theory are an essential pillar.

When architecture becomes an art whose teaching is entrusted to universities, the specific role of the university — apart from the codification of architectural theory and continuous research — could be nothing else; otherwise, architectural education would have to be handed over to non-university institutions, to purely technical faculties, or to newly founded schools operating on principles and philosophies different from those of today’s faculties. In any event, sixty years after the founding of modern architectural schools in Iran and the graduation of several thousand architecture students from these institutions, theory, criticism, and art history still count for almost nothing in the curricula of these schools. For the simple reason that no professor has become renowned in this capacity, nor has any book appeared.

At the same time, from the very first decade of the founding of the faculties, architectural writing and publishing — though scant and irregular, and more often in the form of articles than books, and translation rather than original authorship — has maintained a presence. Writing and publishing are the primary instruments for cultivating architectural theory. But not every kind of writing contributes to the cultivation of theory. Writing that is empty of substance, irrelevant, abstract, confused, and undisciplined even has the harmful effect of squandering the material and intellectual resources of society; not only does it add nothing to existing knowledge, it also confuses the mind and language of the community. Writing about architecture is itself an art that requires training. Perhaps the results of research in the pure sciences and the applied technologies based on them may not require much training in writing; but writing about architecture, which lies within the orbit of both literature and philosophy, is not so simple. The architectural writer must be a person of both thought and letters.

We are connected today, in our architecture, to the current of Western architectural modernity, whose construction depends on theory and discourse, and whose theory and discourse depend on construction. This is an interconnected architecture, engaged in dialogue across the entire world. To have a hand in this architecture — to keep pace with it, to rise above it — requires familiarity with both practice and theory. In order to speak about this architecture, whether in our own country or anywhere else in the world, we are in need of the theory and discourse pertaining to it.

The basis for our survey and evaluation of the state of architectural theory in Iran today is the body of published written works in the Persian language concerning architectural theory. But not every word about architecture constitutes theory. In our survey, we look to written works that are wholly or largely devoted to theoretical discussion of architecture, and that in any case have as their main orientation an approach toward theory, or that provide the groundwork for engaging with theory.

Our primary source for obtaining the list and general specifications of works published in Persian on the subject of architecture is the Architecture Bibliography, compiled by Mrs. Moftakhari Nazaripour, published by the Building and Housing Research Center, first edition, 1369 SH (1990), which is the most comprehensive bibliography on the subject of architecture. We thank Mrs. Moftakhari Nazaripour, who also personally extracted the list of books published between 1369 and 1373 from the next volume of her bibliography — which is currently in press — and made it available to us.

The oldest book named in this list is the Inventory of Historical Buildings and Monuments of Iran, published by the Society for National Monuments — a 38-page pamphlet published in 1304 SH (1925). The oldest magazine is Architect, published beginning in 1325 SH (1946). These two publications may be regarded as marking the beginning of two parallel currents in architectural writing, the second naturally entering the field twenty years after the first, both drawing upon the Western tradition of writing about architecture. The first current is concerned with the historical past of Iranian architecture; its research model is archaeology and history. It has no connection with the contemporary movements of architecture. Within the academic and university system of the country, it belongs to the family of literature, and to this day it has not been able to establish a reciprocal relationship with architecture and building. On the basis of its academic and university standing, it has attracted writers and translators who are relatively more learned and literate. The second current is influenced by the literature of modern-era architecture. Its base is the Faculty of Fine Arts; it has no relationship with the academic platforms of philosophy and the humanities, nor even with the building sciences. Its writers and translators are generally dilettantes, unfamiliar with the conventions of authorship.

Up to 1373 SH (1994), a total of 407 books have been named, among which a large number are compilations, rewritten texts, non-research theses, even reports pertaining to development projects, as well as highly superficial and amateurish books that can easily be set aside. With some generosity, 83 books — approximately 20 percent — can be selected from among them. In a general classification, 53 books — nearly two-thirds — belong to “Iranian and Islamic Architecture,” and 30 books — slightly more than one-third — belong to “Modern Architecture.”

In the group of Iranian and Islamic Architecture, 29 books relate to the “History of the Art of Iranian and Islamic Architecture”; 14 books to “Techniques of Traditional Iranian Architecture”; 3 books to volumes of “General Islamic Encyclopedias” containing entries on “Iranian and Islamic Architecture”; and 7 books to the “Theory of Traditional Iranian Architecture.” In the group of “Modern Architecture,” 20 books relate to the “Theory of Modern Architecture”; 6 books deal with the “General History of Art and Including Architecture”; 2 books are “Glossaries”; 1 book concerns the “General History of Architecture”; and 1 book concerns “Modern Architecture of Iran.” The complete list of these books, including the names of translators, authors, publishers, and their groupings, appears in Table 1.

Iranian and Islamic Architecture

As one may observe, in historical studies the attention to theory is less (approximately one-seventh), and conversely, in modern architecture this attention holds the greatest share (two-thirds). Of the 28 historical studies of the art of Iranian and Islamic architecture, 20 (70 percent) are translations and 8 (30 percent) are original works. Of the 14 books on the techniques of traditional Iranian architecture, only 2 are translations, and 5 were authored by two renowned traditional master builders, Lorzadeh and Zomorroshidi. The 7 books on the theory of traditional Iranian architecture all share the merit of placing research on traditional architecture in the service of contemporary architecture. In other words, it is modern architecture that has prompted researchers to investigate the age-old traditions of Iranian architecture. The compilation of three great encyclopedias — Islamic, the World of Islam, and Shi’ism — has also provided an opportunity for a renewed review of the sources of the history of Iranian and Islamic architecture and the production of more up-to-date summaries of them.

Among the historical authors, the most authoritative works are those of Godard, Pope, and Mohammad-Taqi Mostafavi, all three of whom have passed away. Of Pope’s works, only a small portion has been translated so far. It is fitting that, in addition to a complete translation of Pope’s works — at least on the subject of architecture — a revised and uniform edition of the translations of Godard’s works by various translators, from Gholamreza Rashid Yasami and Isa Behnam onward, should be produced, along with a unified, rewritten edition of Mostafavi’s works with the repetitions removed.

In the field of the theory of traditional Iranian architecture and its contemporary application, judging by published works, the greatest contribution belongs to the prolific researcher Mahmoud Tavasoli, who since 1352 SH (1973), with the publication of the book Architecture in Hot and Arid Climates, has on average published a new study every three years. Drawing upon the results of the historical investigations of Iranian and foreign scholars and the views of today’s experts in urban design, and through constant revision of his own works, he has carried out the most systematic efforts toward the cultivation of a theory of architecture.

Modern Architecture

Of the 20 books on the theory of modern architecture, aside from Principles and Foundations of Architecture and Urban Design by Mohammad-Reza Moussavian — which counts as a serious and novel piece of work — and a study on Soviet architecture, Constructivism, written by Mohammad-Hassan Ebrahimi and Mohammad Farzian, the rest are translations. Even the book Art, Science and Architecture: Architecture as the Dynamic Process of Material-Energy Structuring in the World of Space and Time, authored by Ali-Asghar Tala-Minaei, was written in English and later translated into Persian by Mehdi Sarreshtedari. The authors selected for translation mostly belong to reputable and well-known writers such as Nikolaus Pevsner, Sigfried Giedion, Bruno Zevi, Robert Venturi, Leonardo Benevolo, Wolfgang Pnt, Christian Norberg-Schulz, Serge Chermayeff, Christopher Alexander, and Bruce Allsopp. Had these been well translated, they could have attained more or less the same renown and authority as Manouchehr Mazini’s translation of Giedion’s Space, Time and Architecture, which has reached its fourth printing.

For instance, although Robert Venturi is one of the pioneers of revisionism in modern architecture and, beyond his architectural works, his famous book Complexity and Contradiction in Architecture is among the most influential works since the late 1960s, its Persian translation has not become an authoritative Persian reference. Farokh Esalat’s effort in translating two works by Pevsner and one by Wolfgang Pnt is very commendable, and other translators as well have each in their own way taken valuable steps in conveying the theory of modern architecture to the Persian language. But the person who has worked in this field more than any other, and who has been able, through the translation of various works on architecture and urban design, to open the door of good Persian writing in architecture — and for this reason his translations have been reprinted and received more warmly than those of others — is Manouchehr Mazini. Thanks to Mazini’s long practice in teaching and writing theory and history of modern architecture, his book From Time and Architecture is the first authoritative original work in Persian in this field.

It is fitting to mention the very good translation by Mohsen Mahdavi titled A Conversation about Architecture, the work of John Ruskin, which in addition to its fine Persian has the distinction of priority, having published its first edition in 1342 SH (1963). In the field of modern architecture, besides The Emergence of Modern Architecture in Iran: A Memoir of Vartan Hovanessian (1275–1361 SH), written by Behrouz Pakdaman, no other original work has been published.

Publishers

More than half of the books have been published by private-sector publishers, and of the remaining less-than-half, one-third by universities and two-thirds by research institutions or government publishers. No institution specifically dedicated to architectural research and publishing existed until 1369 SH (1990), when the Urban Planning and Architecture Research Center of Iran, affiliated with the Ministry of Housing and Urban Development, was established. This institution, in addition to the regular publication of the journal Abadi during its period of activity, held the largest share in the publication of books on architecture and urban planning. Apart from this institution, one must mention the Office of Cultural Research, which devoted part of its activities to architectural research and publishing through the efforts of Hossein Sultanzadeh. Under his supervision, and largely written by himself, more than ten books have been published to date, with a greater emphasis on the traditional architecture of Iran, and particularly the architecture of Tehran during the transitional period from old to new.

Architecture Magazines

The first architecture magazine of Iran was Architect, which from 1325 to 1327 SH (1946–48), although planned as a bimonthly, published no more than 6 issues, the first in Mordad 1325 and the last in Tir 1327. In its 6 issues, through its limited articles, Architect addressed the introduction of new Iranian architects, historical Iranian architecture, old Iranian architecture, and examples of modern architecture. Perhaps its most important article was “Problems Related to Architecture in Iran,” written by Vartan and translated by Iraj Ghaffari, which continued over two issues.

After that, for 14 years — that is, until 1341 SH (1962) — no specialized architecture magazine was published. In 1341 SH, the journal Honar va Mardom (Art and People) was published and achieved a record of 18 years of regular and continuous publication, while covering many articles about architecture. Table 2, arranged by year of publication, lists all journals that have in any way published material on architecture, classified into 6 groups: “Architecture–Urban Planning,” “Construction,” “Archaeology and History,” “General Culture,” “Art,” and “Social and News.”

After the closure of Architect in 1327, it took 21 years for Art and Architecture, the second specialized journal before the Islamic Revolution, to begin publication in 1348 SH (1969); its publication continued for 11 years until 1358 SH (1979). Once again, for 8 years after the Islamic Revolution we had no specialized architecture magazine, until in 1366 SH (1987) Architecture and Art of Iran was founded; but in 3 years it could not publish more than 6 issues. One year later, in 1367 SH (1988), the journal Architecture and Urban Planning began publication. One year after that, the Faculty of Architecture and Urban Planning of Shahid Beheshti University published Soffeh; and one year later, Abadi was published, the most regular and richest magazine on architecture and urban planning after the Revolution.

Abadi was able to raise the circulation of a specialized architecture and urban planning magazine to the highest figure ever achieved, encouraging experts to discuss current issues, and bringing new writers and translators into the arena of architectural literature. Among these, one must mention Kamran Afshar Naderi, who tested his talent for critical writing in this very magazine. With the appearance of the journal Shamseh and the journal Memar, the simultaneous publication of five specialized architecture journals should be seen as both a sign of far greater demand from architecture enthusiasts and as an expansion of the resources for writing and publishing.

Conclusion

The yield of research, writing, and publishing on architectural theory, after sixty years of architectural education, is not a satisfying achievement. With this meager capital of architectural knowledge, the reckless and uncalculated expansion of architecture schools raises questions. Sound architectural education, the training of capable architects, the creation and production of architecture of value, and the formulation of architectural theory all go hand in hand. The weakness of any one signals the weakness of the other two, and the improvement of any one requires the improvement of the other two. Quantitative and uncalculated expansion drains our energies. Our focus must be on small numbers of qualitative forces. Slow development, if substantive, will eventually gain speed — unlike rapid development which, if lacking substance, will eventually come to a halt. Our force for the elevation of education, building, and theory, in the face of the ever-growing needs of society, is limited. This limited force, through dispersal, disorganization in education and research, and underperformance, instead of strengthening the roots of a robust architecture, is spent on a moss-like movement across the surface. The small group of experienced and cultured architects must, alongside whatever professional engagements they have, devote themselves to concentrating their energies on the scholarly transmission of the fruits of past practical and intellectual experiences. Architecture faculties bear greater responsibility in this matter than others.

In closing, we draw your attention to several conversations about the issues of research, writing, and publishing in architectural theory.

Table 1

Selected Architecture Books Published Between 1304 and 1373 SH, and Their Classification

Iranian and Islamic Architecture — History of Art

Techniques of Traditional Iranian Architecture

Theory of Traditional Iranian Architecture

General Islamic Encyclopedias

Modern Architecture — Theory of Modern Architecture

Other Categories

Table 2

Architecture Magazines or Magazines Related to Architecture, from Inception to 1373 SH

Conversations

Tahereh Moftakhari Nazaripour

Compiler of the Architecture Bibliography

Tell us about your life and research background.

I was born in 1333 SH (1954) in Tehran. My education is in librarianship. I have been a librarian at the Planning and Budget Organization for 24 years. I recently founded the Sanam Publishing Institute.

What role does bibliography play in research?

Bibliography is among the most important reference tools in all specialized and research fields. Despite the ever-increasing advancement of information databases and global networks, the book remains the most efficient, easiest, and cheapest tool for transmitting information, and for this reason the promotion of software and computer networks has not diminished the publication of information in the form of books and documented records.

What motivated you to compile the Architecture Bibliography?

In 1366 SH (1987), while studying librarianship, I was offered two subjects for a bibliography project — “Roads and Road-Building” and “Architecture.” Because of my interest in Iranian architecture, I chose the subject of architecture. My interest in this subject intensified to such a degree that to find a new source I spared no search or effort. I traveled and went beyond the demands of the research I had undertaken to visit buildings and converse with knowledgeable people. I adapted the classification of the bibliography from the master’s thesis of one of my colleagues in the field of art.

Why has the bibliography been halted at 1369 SH and subsequent volumes not published?

By the time I finished my work in 1368 SH (1989), at the encouragement of Dr. Mohsen Habibi and his introduction to the Building and Housing Research Center, my work was warmly received and published. With the encouragement of colleagues and my own interest in completing the work, I continued on the basis of sources from 1369 to 1373 SH, which encompassed 4,291 entries. In Esfand 1373 SH (March 1995) the second volume was ready — as you can see, it has not been published to this day, despite many requests. I am personally publishing the supplement pertaining to 1369–1373 under the title Appendix to the Architecture Bibliography. The third volume, covering 1373 to 1377 SH, is also being prepared.

What information do these bibliographies contain?

The first volume contains 2,020 entries and 5 subject and general indexes (up to 1369 SH). The second volume contains 4,291 entries and 5 indexes by subject, title, personal names, organizations, and periodicals (up to 1373 SH). The third volume includes information resources on Iranian architecture in other languages, containing 4,315 entries and 5 indexes. The latter two volumes have unfortunately faced delays in publication. The detailed supplement, prepared to address the deficiencies of volumes 1 and 2, completes this comprehensive collection.

Manouchehr Mazini

Tell us about your scholarly and research life.

I graduated from Sharaf High School in Tehran in the field of mathematics in 1332 SH (1953). That same year I passed the entrance examination for architecture at the Faculty of Fine Arts, University of Tehran, and studied at this faculty for three and a half years. In 1336 SH (1957) I went to the United States and began pursuing architecture studies at the University of Illinois. In 1962 (1341 SH), I graduated with a B.Arch. degree. That same year I began working at the architecture firm Smith & Childs in Chicago. In 1963 I began studies at the Illinois Institute of Technology. At this school I was a student of Hilmer Seimer and Mies van der Rohe. In 1966 I earned the M.S. degree, while continuing work at Chicago architecture firms. In October of that year I went to Germany and studied at the Technical University of Munich under Professor Gerd Allen. In 1970 (1349 SH) I received my doctorate in urban planning. In 1349 SH I came to Iran. For about two years I taught urban planning at the National University (Shahid Beheshti). In 1350 SH (1971) I founded the consulting firm Arah va Tarh va Pajouhesh, and in 1351 SH I began teaching at the University of Tehran. In 1352 SH I became head of the Architecture and Urban Planning Department at the Faculty of Fine Arts. From 1353 to 1357 SH, I participated in the master plan of Yazd, the development plan for Kermanshah villages, and the development plan for Masouleh. In 1359 SH I went to the Netherlands for research on urban renewal projects. In 1360 SH I taught at Boston University, and from 1362 to 1369 SH at King Abdulaziz University in Jeddah, Saudi Arabia. In 1370 SH I returned to Iran to teach in the doctoral program at the Faculty of Fine Arts, and from 1372 SH to the present I teach at the Islamic Azad University.

What motivated you to translate architectural works?

First and foremost, it was a need I myself had felt as a student of architecture. At that time no book on this subject existed in Persian. If I say that Space, Time and Architecture was the first book in Persian in this field, I may not be exaggerating. Second, from early youth I was fond of books. I published my first book, Recognition of New Art, when I was no more than eighteen. Third, I had a great fondness for teaching and wanted there to be a “dialogue” between students and me.

Briefly introduce the works you have translated in the field of architecture.

Space, Time and Architecture is a book now well known in Iran, offering well-argued, engaging, and profound discussions, although at times one-sided and leaning toward Le Corbusier. Community and Privacy is the first book to draw logical analysis into the domain of architecture and urban design. The Image of the City stands on the border between urban planning and architecture and presents a completely fresh concept — the fruit of Kevin Lynch’s keen vision in observing the visual manifestations of the city.

Which of your translations has been more influential? For what reason?

I think Space, Time and Architecture, and after it The Image of the City, both of which have reached their fourth printing. Some of the senior officials in Iran’s architecture and urban planning field have told me that these books were good guides for them.

In your opinion, what are the ten most important architectural books whose translation takes priority?

First, the famous book by Professor Pope and his wife Phyllis Ackerman — whoever translates it completely will have rendered a great service to Iranian culture. Second, Kenneth Frampton’s A Critical History of Modern Architecture. Third, Habermas on philosophy, presenting a discussion about the uproar that Derrida and other deconstructivists have stirred up. Fourth, a condensed version of the McGraw-Hill encyclopedia. Fifth, Bruno Zevi’s The Modern Language of Architecture. Sixth, Benevolo’s book on modern architecture, which Dr. Sirus Bavar has undertaken to translate. Seventh, The New Moderns by Charles Jencks.

What is your opinion on the quality of architectural translations?

On the positive side, these translations are good; but I stipulate three conditions for a translator: the translator must be familiar with architectural concepts; must be completely fluent in the source language; and must be fluent in Persian so that the translation fully conforms to the mold of Persian. The worst translation I have seen is the Persian translation of Complexity and Contradiction in Architecture by Venturi — the translators possessed none of these three conditions.

In addition to translation, you have also undertaken original authorship. Do you have other works in preparation?

In my view, original authorship is even more necessary than translation for Iranian architects, because every foreign book contains information specific to Western conditions. My recent works are original rather than translated. I have several other books ready for publication, including History of Urban Planning and Architecture and The Physical Body of the City. My view on writing and publishing an encyclopedia of architecture is positive — it is a monumental cultural undertaking.

Mahmoud Tavasoli

Tell us about your scholarly and research life.

Since 1342 SH (1963), from when I was a teacher in a village to today when I am a university teacher, I have been a teacher.

What was your first research?

My first research was on the geometry of solids, which I began in 1342 SH and which was published as a book in 1346 SH. The ambiguity in the architecture entrance examination and the incomprehensibility of a subject called “solid geometry” prompted me to undertake this inquiry.

Briefly introduce the research you have done in architecture.

All of the work, whether in architecture and urban design or in urban planning and urban development of Iran, has been published as a book or accomplished in collaboration with colleagues. I have devoted my research focus to the architecture and urban design of Iran.

What goals have you pursued?

A cultural goal. This is my work. For this reason I have not accepted just any assignment. The principal thread of my work is clear.

What are the most important fields in need of architectural research?

The fields of our concern in the area of architecture and urban planning of Iran — going one step beyond the work of Pope and Godard, not repeating their work.

How can architectural research be strengthened and expanded?

The perception of research must change: what it is and how it must be done. Respect must be given to the researcher.

Hossein Sultanzadeh

Tell us about your scholarly and research life.

In 1353 SH (1974) I completed my high school education and was accepted in mathematics and computer science; but because of my interest in architecture, in 1354 SH I began studying architecture at the Faculty of Fine Arts, University of Tehran. My acquaintance with the late Master Mohammad-Karim Pirnia, who was teaching the history of architecture at the faculty, led me to pursue study in this field with greater enthusiasm. Before graduating, I managed to author and publish three books and several articles. Since 1367 SH I served at Shahid Beheshti University, and later at the University of Tehran, the Islamic Azad University of Tehran, and the Islamic Azad University of Tabriz. Since 1366 SH I have been director of the architecture and urban planning unit at the Office of Cultural Research, where fifteen books have been published in the “Culture and Architecture” series under my supervision.

What motivated you to focus on research?

From my high school years, I was interested in the history and culture of Iran. Through the classes and works of the late Dr. Shariati, and the influence of Master Pirnia, I became aware of the lack of adequate research on Iranian architecture. I determined that even with individual means I would engage in research, because without fundamental research it would not be possible to arrive at a suitable architecture for the contemporary period. I concentrated my activities on traditional architecture in Iran and the Islamic world, and to date I have authored twelve books, translated three, and collaborated on several others.

Briefly introduce the research you have done.

These works can be classified into seven groups: works on the historical formation of cities and architecture in Iran; typological studies of urban and architectural spaces; documentation and illustrated records; a special study on Nain titled Nain: City of Historical Millennia; a study on the Shahnameh as a source of architectural history; comparative studies of architecture in neighboring Islamic lands; and translations of texts on architecture in the Islamic world, including The Great Arab-Islamic Cities, Architecture of World Mosques, Indian Architecture in the Mughal Period, Classical Architecture, and Typology of Mosque Architecture in the Republic of Azerbaijan. In addition to seventeen books, I have authored and translated more than fifteen articles.

How do you assess the state of architectural research for responding to today’s theoretical needs?

Unfortunately, we lack the necessary centers and institutions. Many architecture faculties have become mere training schools. During more than half a century of academic architecture education in Iran, we have been unable to author books considered among the world’s important sources. We have always been heavily dependent on Western sources. Architectural research in Iran is currently not at a level capable of meeting the theoretical needs of today’s architectural community.

How can architectural research be strengthened and expanded?

Through a well-considered plan, by raising the awareness of planners, managers, and the administrators of architecture faculties. One of the basic issues is the lack of a tradition of fundamental research in architecture faculties. The regulations allow students to address theoretical topics, but in practice this is usually ignored. Programs, resources, and conditions are not suitable — after more than half a century, we do not have research works published as books. As long as we do not undertake an impartial evaluation of architecture education and examine the path that Iranian architecture has traversed, we cannot properly address the strengthening of architectural research.

Do you have any other views on architectural research?

If one can, through a specific program, create an architecture research center in which the criterion for activity is solely the scientific qualifications of individuals — and criteria such as non-scientific connections, profiteering, narrow-mindedness, and power-seeking play no role — and keep it completely independent and scientific, then one can address the subject of architectural research in a fundamental manner.

Kamran Afshar Naderi

Tell us about your scholarly and research life.

I was born in 1338 SH (1959). After two years of studying architecture at the University of Tehran, I went to Italy, where I graduated with a research thesis titled “Iranian Architecture: From Idea to Project (11th to 17th Centuries).” I published my first work in 1367 SH under the title Public Institutions in Islamic Cities, in Italian, through the University of Genoa. During my residence in Italy I worked in the Renzo Piano workshop and was involved in the plan for Siena, an industrial complex in Ukraine, Kansai Airport in Japan, and the Lingotto Cultural Complex in Turin. I began my professional and research activities in Iran in 1372 SH, publishing critical and theoretical articles in various journals including Memar, Architecture and Urban Planning, and Abadi.

What role does the architectural writer play in criticism, promotion, and the formation of architectural theory?

Writing about architecture encompasses several fields: theory-making, historiography, criticism, and essay-writing. Architectural theory-making, as we understand it, first appeared through Leon Battista Alberti in the Renaissance. He was not a professional architect but an amateur who, free from professional constraints, was able to design truly novel buildings and formulate the first theory of architecture after centuries of silence following Vitruvius. Architectural theory-making in the Renaissance was always imbued with the humanist tradition. Today too, architectural knowledge is disseminated through texts mostly influenced by philosophy and the humanities.

The root of architectural historiography goes back to Giorgio Vasari and his famous Lives of the Most Eminent Painters, Sculptors and Architects (1550). Architectural criticism has two roots: the judgments in sixteenth-century biographies, and the philosophy of art from the eighteenth century onward. Essay-writing has emerged with architectural journalism and the modern appetite for information.

Architecture fundamentally deals with non-textual categories — space, color, light — and a structural contradiction exists between the built object and the text explaining it. Yet architectural knowledge is transmitted primarily through writing. Today’s architecture is increasingly based on abstract ideas, and writing is the sole instrument for ordering architectural thoughts. Avant-garde architecture needs to establish its legitimacy through writing, which is why conservative architects like the High Tech practitioners have felt far less need to write than avant-gardists like Venturi and Koolhaas.

Can architectural criticism exert a transformative influence on practice?

Architectural criticism makes it possible for new concepts and aesthetics to be examined free of prejudices — creating a kind of historical conscience regarding architecture. If we look at the history of the last few decades, we clearly see the undeniable role of books such as Aldo Rossi’s The Architecture of the City and Venturi’s Complexity and Contradiction in the course of architecture.

How do you evaluate the state of architectural writing in Iran?

The problem in Iran is that there is no source of nourishment. Important works are not being built, and serious design experiments do not exist. Criticism and essay-writing try to create some movement in this stagnant water. Architecture writing must ultimately address architecture and seek it wherever it may be found. The world’s architecture magazines pursue the discussion of architecture regardless of national considerations. The history of architecture in Iran is also influenced by styles and tendencies whose roots lie in Western culture.

What knowledge and abilities must an architectural writer possess?

The architectural writer, if genuine, always seeks to raise new points about which knowledge does not exist. As Gombrich says, neutral data do not exist — data are collected to prove a theory. Without an idea in hand, study yields no result. Architectural theories and criticisms are relative and historical; no absolute truth exists in them. Architectural writing is never the recording of a truth but an effort that moves toward truth yet does not reach it — truth, like the horizon, forever recedes from it. This work involves much observation and extensive reading. I place more emphasis on the quality of study than on volume.

What is the difference between “specialized criticism” and “journalistic criticism,” and what is our current need for each?

Criticism is a specialized task — even journalistic criticism is specialized; only the type of specialization differs. Today there is an important debate between theoretical criticism and phenomenological criticism: the first examines ideas, concepts, and processes; the second examines works independently of the designer’s motives. Magazines certainly need both, but architects — I do not know whether they feel a need for criticism. They do not produce works worthy of criticism, and they do not show positive reactions to it. The existence or absence of the need for criticism depends on the vision and feeling of individuals — and it is something that is created, not something that exists from the start.