Leo Kandl. Shahab Katouzian. Architecture in Tehran. Pekinese Dog. What I saw: buildings, areas of dynamic urban life, and the density of the town. Buildings of high and impressive qualities as landmarks of the metropolis. And: a variety of architectures with imaginative elements of architecture, surfaces of high aesthetic value, and "passages" (arcades) serving as exciting gateways for shoppers. And: the town as a hidden treasure of modern architecture! Kaveh Mehrabani went around the city with me and gave me the information and the feeling — how to look and see. Footnote: 1- Referring to the early arcades of central Tehran on Jomhouri, Sa'di, and Manouchehri streets. Places and spots visited: Lalezar, Jomhouri, Taleghani, Tajrish, Abbas Abad, Sana'i... K.M. * Leo Kandl, renowned Viennese photographer, graduate of the Academy of Fine Arts in Vienna (1963-1968). He has held numerous exhibitions and visited Tehran in 2012. A few years ago, to digitize some of my projects, I went to one of my young friends and colleagues. The work was to be done at his office. What caught my attention during those busy weeks was a Pekinese dog that, no matter where it was in the office — a long, elongated north-south space — would immediately and swiftly rush to the northern side and look out the window. When I looked more carefully, I noticed that across the street, a building had been constructed in the style of Chinese pagodas. The mystery was solved: the little animal was constantly homesick! This humorous observation, then and now, makes me think about how, in a city where there is constant talk of identity in architecture — where there is not a single seminar, roundtable, or conference in which participants do not engage in such discussions — not only are more "pagodas" appearing, but also buildings whose roots lie in nothing but cultural poverty. In recent years, some in the construction industry have made ludicrous use of ancient architectural elements, marketing them as Achaemenid-Sasanian style — not to mention the postmodernist disaster of two decades ago or the prevalent cookie-cutter neoclassicism that at best belongs to the worst chapters of Western architecture. On the other hand, our past — a vast portion of the bazaar and its surrounding neighborhoods, as well as the unparalleled buildings and arcades on both sides of streets like Lalezar, Jomhouri, and Enghelab — is crumbling to dust. Let us not forget that the history of a city is formed by layers accumulated over different periods, and that Tehran, beyond its Tahmasbi and Naseri heritage, was one of the most modern cities in the Middle East during the 1930s through 1950s of the twentieth century. If there is no resistance against the onslaught of capital, speculation, and the display of luxury devoid of any aesthetic principles by the nouveau riche, Tehran will lose its last connections to its own past. * Shahab Katouzian, architect and urban planner, has taught at the universities of Tehran and Rome, and has designed and supervised residential and public buildings in Iran and Italy. His works and writings have been published in domestic and international journals.
Herwig Kempinger. Eyes Wide Shut. Once upon a time, there was a movement called Modernism. With tools like ingenuity, sensitivity, human-centered research, and craftsmanship, it endeavored to make everyday life better for everyone. Once upon a time, there were cities like Tehran, where exquisite examples of this movement could be seen on every corner — buildings, furniture, and objects that made life more enjoyable and gave it greater meaning. Once upon a time, all of this was sacrificed on the altar of ever-increasing profits, speculative values, and vulgarity. Soon a day will come when the last remnants of this era — when there was no contradiction between function and beauty — will be lost forever. Cities like Tehran will remain, but from then on they will have nothing but buildings that are mere sad misunderstandings, mostly stupid and meaningless interpretations of nineteenth-century European historicism. And this will be celebrated by the narcissistic priesthood of finance capitalism, having finally rid itself of the unnecessary costs of something obsolete called culture. * Herwig Kempinger, born 1957 in Austria, graduate of the University of Applied Arts in Vienna. He teaches media art there and works in the field of visual arts. He lives in Vienna and visited Tehran in 2012.
Mehr Azar Soheil. Alas for Tehran's Modern Architectural Heritage. History builds the city. Over the centuries, different generations of society have added new layers and themes to this symphonic poem that is the city of today. The defense of cultural heritage and the living identity embedded in the built and natural environments of nations has been the founding principle of UNESCO. The architecture and urban planning that took shape from the early twentieth century, based on new social orders, technology, and new forms of life, existed within an international and global framework. This transformation gave rise to an international movement emphasizing functional efficiency and new spatial concepts, rooted in evolving technical innovations that enabled experimentation and invention in new forms. At the same time, at its best, modern architecture can address the aspirations and needs of society by emphasizing the specificity of place. Modern architecture is a fundamental part of our shared heritage, recognized by international organizations such as UNESCO and the European Union, as well as professional bodies like ICOMOS (the International Council on Monuments and Sites). The International Working Party for Documentation and Conservation of Buildings, Sites, and Neighbourhoods of the Modern Movement (DoCoMoMo) has begun identifying and cataloguing this type of architecture in various countries, and has added a large number of outstanding examples of modern architecture and urban ensembles from Africa, the Americas, Asia, and Europe to the UNESCO World Heritage List. The people of Tehran can be proud of the valuable work of their city's builders, not only in the past but also in the twentieth century, when, by embracing the ideas of the international movement, they applied these principles while considering local needs and cultural frameworks. Buildings from the 1950s to 1970s constitute a significant part of Tehran's architecture, yet with deep sorrow, we witness the loss and destruction of this heritage, which has become an essential part of the city's history. It is important that this heritage not be defined solely in terms of its architectural form, but that the broad ecological, social, anthropological, economic, and cultural framework constituting its entirety also be taken into account. Although the heritage of modernism differs in many respects from earlier periods, it is part of a continuum and an essential phase of the city's overall history. The authorities are obligated to enforce the country's existing laws for the protection of heritage, buildings, and sites associated with modernism. Safeguarding this heritage also requires a focus on raising public awareness. The first step is to stop the demolition! Footnote: 1- DoCoMoMo. ICCROM. * Mehr Azar Soheil, graduate of architecture from the University of Tehran, with specialization and a doctoral degree in conservation from the University of Rome La Sapienza. Member of the ICOMOS Scientific Committee on Training, and Theory and Philosophy, and the scientific council of ARCo, the Association for the Recovery of the Built Environment.
Opposite Massoudieh Garden — Ekbatan. Reciprocal Formal Function. EKBATAN STREET - Off BAHARESTAN SQUARE, Opposite the Qajar MASSOUDIEH garden and mansions. Reciprocity