The Impact of Modern Architecture on Iranian Architecture
Afarin Amirhassankhani
Architectural Engineer | Language Teacher | Bridging Creativity, Communication, and Tech
1.?Bachelor of Architectural Engineering, Islamic Azad University, Mashhad, Iran
2.?Bachelor of Architecture, Tabaran Institute of Higher Education, Mashhad, Iran
Abstract
The phenomenon of modernity and the modernist style of thinking is one of the most prominent cultural characteristics of contemporary philosophy. Given the developments of the past century, Iran has transformed into a modern country in the realms of social, political, cultural, and economic aspects, and these changes have had a significant impact on societal thinking, leading to the incorporation of Western ideologies into various fields within the country. This new way of thinking has created a profound rift in the fields of architecture and urban planning, separating Iran from its several-thousand-year-old architectural heritage based on the structure of its social identity of that era and introducing a completely different era in terms of ideology, which, after several decades, is now evident in Iran's cities. With the knowledge gained from European modern architecture, one can now examine the consequences of this architectural style in the third world and Iran, as Iranian post-modern architecture is not merely borrowed from the blueprint of modern architecture, but it is adapted to the semi-modern society. To identify the characteristics of Iranian modern architecture, one must examine the intersection of modern architecture and modern society, as these features define the architecture of contemporary perception.
Keywords: Contemporary architecture, Traditional architecture, Modern architecture, Modernity
1. Introduction
The rapid growth of cities and counties, coupled with the need for rapid construction to facilitate urban development and address housing shortages, has led to various challenges. Industrial projects, massive construction, high-rise buildings, and new and modernized cities have transformed the face of urban areas. Another significant challenge for cities is the migration of residents from old to new cities due to the social and economic development of the new urban areas. Meanwhile, younger individuals with new needs are entering old cities, seeking change. These individuals may not be familiar with the true value of historical structures and their valuable fabric, leading to the potential destruction of these heritage sites.
Unfortunately, in most cities in Iran, historical areas are preserved in a manner that makes life in traditional environments seem demeaning. The embellishments and apparent comfort in modern areas contribute to an increased inclination to live in these regions. Furthermore, the quality of life in the modern world is portrayed in a way that people are eager to demolish older neighborhoods and construct them in a modern style. This is even though the traditional architecture in each region is built based on the habitat and climate of that area, and it is often more efficient than modern architecture, which pays less attention to its surroundings. This is while people should understand that respect for cultural heritage is respect for history, culture, and the legacy left by ancestors. By damaging, destroying, or forgetting about them, they are gifting cultural and historical poverty to future generations. Unfortunately, with the Western approach to architecture and its influence, Western culture is flourishing, emphasizing the need to save tradition from the midst of contemporary architecture. Sheikh Zein al-Din states: “The reason we witness all this ugliness on the city's surface is a cultural problem. The fundamental problem on a large scale is related to our culture, not our technology”.
The modern human placed trust and reliance on their reason and took center stage in the scene of life. They embarked on the recognition of nature and themselves, achieving significant progress in various scientific fields. The modern human envisioned an ideal, such as the modern city. They believed that with boundless progress and triumph over nature and history, all suffering and deficiencies in human life would come to an end. Consequently, they rapidly set out to identify nature and all possible realms of existence. In the late nineteenth century, doubts arose about the consequences of realizing the ideals of modernity. Nietzsche was among the first thinkers to critically evaluate and question modernity. He attempted to provide a new analysis of humanity and human reason, aiming to assign a new position to humans through a fresh understanding.
Modernity has brought about significant and crucial achievements for human life in scientific and humanistic domains, and its impact on human life and development cannot be overlooked. However, considering the repercussions of modernity, it is essential to recognize the limitations and nature of reason. Understanding the shortcomings of reason and critically examining the world of modernity can lead us to adopt an approach that allows us to benefit from the favorable aspects it offers for a comfortable life while safeguarding ourselves from its adverse effects. Along this path, we should not remain indifferent to our traditions; instead, tradition should be a continuous, all-encompassing historical and cultural stream that demonstrates its continuity and coherence amid movement and progress, in fundamental aspects of language, literature, art, philosophy, and ways of life. We need to overcome our feelings of contempt and take our relationship with the past seriously, recognizing that progress does not mean uprooting the past. The past is our point of departure. We must once again embrace culture, literature, art, and philosophy. However, this does not imply neatly categorizing the strands of the past through Orientalism and archaeology. Instead, it means interpreting and giving meaning to them, consciously incorporating the living elements of the past into language, thought, literature, and art. We must relearn and critique everything the West has taught us, never forgetting that material dominance in Western civilization does not equate to absolute superiority in all standards, lifestyles, and cultures.
This research aims to examine the impact of modern architecture on the essence of traditional Iranian Islamic architecture. Over the past few decades in Iran, various Western concepts and ideologies have been utilized to some extent in cultural, social, and physical environmental planning, giving rise to a modern and industrial application. On one hand, modern policies, technology, and architecture are congruent with any religion due to their impartiality. Consequently, many public decisions in societal structures, education, and the formation of physical environments largely lean toward Western models. This is happening while the government's primary policies, urban development strategies, and legal regulations are close to Western laws, resulting in a duality in Iranian cities. On the other hand, the evolutionary trend, rapid growth, and construction development in these cities currently leave no opportunity to integrate with indigenous architecture. To achieve these objectives, the researcher commits to the following strategies:
2. Statement of the Problem and the Necessity of Addressing the Issue
Technological advancements, modern construction methods, and new materials have led to the dominance of Western architecture over the rich traditional architecture of Iran. Considering the structures built in Tehran, it can be stated that modern architecture is the most prevalent style in this metropolis. [1] It is worth mentioning that the origin of this architecture lies outside Iran, and in its purest form, it lacks roots in the past and the culture of this land. In reality, architecture is a product and combination of cultural elements and factors tied to the beliefs and worldview of society. This is happening while Iranian architects are educated in their country's culture and familiar with Iranian architectural traditions. The work they create should embody the spirit of Iranian architecture. One of the most important perspectives and primary goals of authentic Islamic architects is to prioritize the essence of human needs. This perspective leads to the creation of a suitable space for society.
Contemporary architecture, influenced by Western culture and standards, has taken a modular form and tends to disregard Iranian culture, customs, and traditions. In contrast, traditional architecture, due to the harmony between the structure's form and the culture of the people, not only meets the functional needs of users but also carries profound cultural meanings. The forms of traditional architecture, rooted in cultural patterns, are meaningful for people. Such spaces provide a sense of security and tranquility for the individuals. [2]
With a brief study of the historical fabric of any city, repetitive patterns can be observed in materials, colors, textures, windows, and more. The uniformity and harmony evoke memories of Iranian architecture, which has been lost for a long time. In contemporary times, some architects have attempted to construct Iranian houses, but the limited number and dispersion of these structures prevent a prominent display of Iranian architectural features. It is said that studying each era reflects the prevailing thoughts and ideas of that period. Thus, the appearance and facade of each building reflect the mindset of its creator. Is there a connection between the disarray in the facades of the country's buildings and Iranian thought?
The emulation of architects in contemporary Iran from the architectures of other countries, coupled with the absence of a consistent pattern of traditional Iranian architecture, has led to the creation of diverse and varied contemporary Iranian structures. Consequently, the visual aspect of Iranian cities has become disordered and filled with a plethora of facades, forms, and architectures. This is in contrast to the absence of such disorder in the traditional fabric of cities. In the examination of the theoretical foundations of contemporary Iranian structures, the emphasis has been on the idea that form is a function, shaping the approach to modern Iranian architecture. Traditional architecture is not exempt from this rule, but the form of each structure reflects its inner essence. The diverse thoughts of Iranian architects have given rise to different and intricate structures, altering the visual identity of the city.
Traditional Iranian architecture, due to its construction methods and decorations, is considered a cost-intensive architecture in terms of construction time and estimated cost. As a result, modern architecture has replaced traditional architecture as a technique, generally simplifying and expediting the construction process. As the needs of people have changed from the past to the present, traditional architecture, with its traditional execution, decorations, materials, and plans, no longer meets the people's needs. Traditional architecture, while maintaining its identity, concepts, meanings, relationships, execution patterns, elements, and images, must adapt to the changing needs of the people. These images serve as a set of environmental stimuli that provide information to citizens for a better understanding of traditional Iranian spaces. The repetitive presence and construction of these structures in urban environments create a mental foundation for future architects to build structures with presented patterns. The richness of traditional architecture lies in these execution patterns, which unfortunately are still not organized.
Given that one of the reasons for people's inclination toward modern architecture can be the progress of societies and the changing needs of the people, traditional architecture, with its traditional construction methods and old materials, has somewhat distanced itself from the tastes and technologies of contemporary societies. The lack of modernization is among the reasons for the neglect of this style of thinking.
The use of patterns specific to valuable Iranian structures within the framework of the executive approach of modern architecture, aiming to harmonize traditional and modern architecture side by side, and allowing people to interact with these structures, can be an initial point for implementing future projects in the context of Iranian traditional architecture. The result of such an approach would be a return to the original and old face of the city. The esteemed authorities need to strive for the transfer of these traditions and cultural concepts into contemporary architecture. Therefore, this research aims to explore the impact of modern architecture on Iranian architecture in the contemporary era.
Today, a return to traditional Iranian architecture and the use of Iranian architectural symbols and signs have become significant considerations in urban planning. Examining this matter in the pre-Islamic era for the revitalization of traditional architecture was lost due to the government's inclination towards the West. After the Islamic Revolution, buildings with the appearance of traditional architecture were constructed in various cities. Unfortunately, these structures mostly possess only the form and appearance of traditional architecture but are far from embodying the essence and meaning of traditional architecture.
3. Research Hypotheses
Historical buildings in any country are part of the cultural identity and the public record of the people living in that country. Reminding ourselves of the valuable patterns of Iranian architecture in contemporary buildings, instead of imitating Western patterns, is a reminder of the rich history of the country, which is presented to future generations and visitors from other cultures and countries. These patterns should be used in all applications to give an Iranian shape to the city as a whole and to break free from disorder.
4. Research Objectives
The project aims to understand the impact of modern architecture on Iranian architecture. Efforts are directed toward identifying some of the contradictions between modern planning techniques and the traditional Iranian-Islamic approach to pinpoint inconsistencies for adjustment. The goal is to preserve and revitalize the quality of architecture, identity, and the unique cultural continuity of Iranian architecture. The approach involves policies for renovation and coordination between the past and the future.
5. Research Methodology
The initial phase of the project involves conducting primary studies using online sources and books available in the library. This includes presenting foundational studies on concepts such as traditional architecture, modern architecture, the history of traditional and modern architecture, their various types, goals, etc.
Additionally, practical studies are presented, involving an examination of relevant domestic and international examples aligned with the project's functions and approach.
Field studies are conducted through on-site visits, capturing photos and sketches, which encompass site visits and analyses, as well as examination and analysis of existing case studies.
6. Data Collection Method
The research method utilizes a combination of approaches, employing analytical-descriptive techniques. In this regard, the initial stage involves the use of library and documentary research methods within the framework of the theoretical hypothesis formulated by the researcher. In the second stage, a field and experimental method is employed, utilizing tools such as interviews and field visits. This method is used to gather the required information.
7. Basic Concepts
The existence of a multitude of Iranian architectural works scattered throughout the corners of Iran, employed by architects from ancient times to the present, passing down secrets from generation to generation, always provides the opportunity to examine the elevated art of Iranian architecture. Therefore, in defining traditional Iranian architecture, they refer to a term that includes historical architecture, authentic architecture, identity-based architecture, indigenous architecture, meaningful architecture, vernacular architecture, and local architecture. Iranian traditional architecture carries the cultural heritage of Iran.
Below are some of the important features of Iranian architecture that have influenced the essence of this architectural style.
In traditional Iranian urban planning, the observance of architectural principles on one side and the respect for traditional cultural norms and etiquette on the other are considered important. Incorporating tradition into architectural works does not imply the repetition and imitation of past works; instead, it focuses on the principles and theoretical foundations of contemporary architecture that are evolving, emphasizing the essential elements of modernism. [7] In other words, modernism can be defined as the desirable acceptance of authentic cultural principles and values, preserving the identity and cultural heritage of the past, while adapting to the needs of humans and indigenizing everything imported from other civilizations without conflicting with the cultural values of society. [8] In a different formulation, modernism or reconstruction can be understood as finding an appropriate response to the time and place, meeting the audience's demands by utilizing the opinions and experiences of predecessors, and evolving them accordingly.
Now, in contemporary architecture, to respond to the crisis of identity and the turmoil in cities, it is necessary to return to traditions and draw inspiration from them. [7] Contemporary architecture in Iran is going through a period of confusion and upheaval, driven by the lack of meaning in architecture. In the present era, imitation of traditional architecture cannot shape identity-oriented architecture because the discoveries of traditional times are different from the discoveries of the contemporary era.
8. Research Findings
8.1. Modernity and Modernism
Modernism is a sociological trend and an artistic style that requires attention to a century ago, examining the course of its developments during that period. Modernism crystallized over 150 years ago in Western Europe and emerged as a paradigm that challenges traditional institutions, thoughts, and beliefs. The use of individual introspection tools was the progressive method of this modernist thinking, resulting in the emergence of human-centered perspectives with worldly insight.
The primary characteristic in modern societies, or the context of modern architecture, is that modernization is synonymous with technological advancements. In non-modern countries, this equation is often associated with Westernization, and both are manifested through the importation of technology. Experience has shown that this process leads to the destruction of powerful civilizations and enduring values in non-modern countries.
Another characteristic of modern societies and modern architecture is the recognition, triadically, of technology, production, and consumption. There is a significant difference between constructing an apartment and a residential tower, transforming it into an economic element, and the love that our ancestors had for the semi-ruined houses of the old fabric.
Modernity is a state and condition that has occurred in history, representing a certain approach to existence and life. Modernism, as an ideology and approach, is an understanding of modernity itself. [4] Since numerous articles have been published on the recognition and explanation of modernist ideas, repeating the approaches and goals of modernity would be repetitive. However, modernity and its experience in Iran, after decades of scrutiny since the early days when critiques were introduced in the 1940s, remain like an unanswered question.
8.2. Indicators and Principles of Modernism
In modern philosophy, humanity is considered to have a lofty status and dignity. It is believed that anything that does not ensure human satisfaction and happiness is, in fact, outside this ideology and is condemnable. Essentially, rationalism, the philosophers of the Enlightenment era aspired to the prevalence of rationalism in human culture. They believed that the power of human reason is a reality through which humans can effectively fulfill their needs. This is in contrast to the modernist perspective, which fundamentally does not have a belief in the transcendent and, even if it does, does not assign a worldly role to it in the human context. Moreover, the rationality of modernism is limited to a very narrow human scale. As Burkhardt says: Is not the doctrine of the authenticity of reason nothing but confining intelligence to a human scale? And Renaissance art, with its interpretation of “man-like” and the human mind in architecture, precisely conveys this meaning.
8.3. The Experience of Modernity in Iran
Modernity, as well as the criticisms directed towards it, has been a subject of continuous debate among intellectuals and researchers throughout history. Since the publication of Jalal Al-e Ahmad's book “Westernization” and Daryush Ashouri's critique of it in an article titled “Historical Consciousness, an Approach to Westernization and its Theoretical Foundations,” which was first published in 1967 in the “Book Review” journal, it remains, until today, an unresolved issue in history. [9]
The main reason for this debate over the criticism of the experience of modernity and the consensus in modernism critique is that, firstly, modernism, as an ideology, does not lend itself to various interpretations. However, in the discussion of the experience of modernity, one must first examine the societal conditions before the occurrence of modernity. Then, delve into the study of the society and government behavior during this period. Subsequently, by assessing the success or failure of the project, one can arrive at an understanding of the entirety of modernity. This extensive interpretation and analysis open the way for any personal judgment and subjective preferences, leading to a lengthy debate, as explained in the above paragraphs. To reach a convincing and precise answer, it is necessary to delve into the study of contemporary Iranian history, especially in specific periods that have been the primary focus of the debate, emphasizing the sociological and economic characteristics of each era.
Naser al-Din Shah's travels and those of the court to Europe, witnessing Western art and technology, led to the transformation of the incomplete reforms of Abbas Mirza into a different form. The direct acquaintance of the Qajar kings and the courtiers, especially Naser al-Din Shah, with the aspects of the culture and civilization of nineteenth-century Europe, and the importation of some of it to Iran, brought about a fundamental change in the thinking of Iranian artists. During this period, the ideal of Iranian architecture gradually found its manifestation in the streets of Paris and other European cities. However, this manifestation was imposed on architects and builders of such structures by the employers and owners of these buildings, as architects and artists would not have had the opportunity to travel to the land of Europe and witness this earthly paradise and the bride of world cities. [10]
Mirza Mehdi Khan, known as Mamtahan al-Dowleh, is considered the first contemporary architect. After spending three years studying in France, he finally returned home in 1864. In his first endeavor after the initial wandering in Tehran, he was tasked with preparing part of the plans for the Sepahsalar Mosque and the Baharestan Palace. Mamtahan al-Dowleh incorporated elements of European architecture into his works. One of his notable achievements, well-received by many, was the design of large inns and open staircases in the European style, replacing the enclosed corridors and stairs of traditional architecture. [11]
The aforementioned changes and transformations were only observed at the level of buildings owned by the aristocracy and elites. During this period, average residential buildings, especially in old neighborhoods, continued to be constructed with the same traditional structure. The vestibule, guesthouse, and central courtyard remained integral and inseparable parts of vernacular architecture.
Amir Bani Masoud, in the book “Contemporary Architecture of Iran,” describes the layout of Tehran and its open spaces as follows: “In the year 1258 AH (Hijri), a map was prepared and published by the Russian geographer, Mr. Elias Nikolayevich Brehzine. In Brehzine's map, the narrow alleys of Tehran were evident in the axis of the market, which was the most active part of the city, and it opened to the gate of Shah Abdol-Azim. The city, during this period, lacked open spaces, was almost devoid of large buildings, and its only open space was Shah Square, located between the market and the citadel (Arg)”. [12]
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Architecture with a Western style, which initially entered Tehran with the construction of court buildings, expanded. During the Naseri period, the architecture of mansions and palaces, especially the Arg, was influenced by European structures, particularly French ones. The presence of the aristocracy, the return of a few Iranian students from abroad, and the construction of the railway from Tehran to the shrine of Abdul Azim in 1267 AH contributed to transforming the face of Tehran. As a result, Tehran shifted from being an Iranian-Islamic city to experiencing cultural phenomena influenced by European material culture. [13]
During this period, the boundaries of Tehran changed twice, expanding to the extent that the use of public transportation became necessary. New streets were constructed to accommodate the passage of carriages, and the urban social structure underwent significant changes. For example, streets such as Bab Homayoun, Lalehzar, Nasrieh, and Cheraqgaz, which are influenced by the streets of 19th-century France, were constructed. [10]
In the previous era of introverted Iranian architecture, passageways, and alleys were always narrow and winding, with the least exposure to the outside, but in this period, with the creation of streets in their modern form, the need for spatial design and side decorations of buildings became apparent. Over time, houses gained outward-facing windows, and centrality shifted from the courtyard. Additionally, boulevards like Lalehzar, where shopkeepers used vitrines to attract more attention from passersby, transformed into places for leisure and strolling, which was unprecedented. [14]
We witness that changes in urban planning bring about new habits for the people. Until the pre-modern era, the mosque and the bazaar, usually built side by side, were the main and perhaps the only gathering place for passersby. However, in this period, the street was recognized as a communal space.
The inevitable introduction of new elements from Western civilization is observed: Diamond Street, connecting the Toopkhane Square to the northern gate of the Arg, emerges as a modern boulevard. Renewed industrial benches are placed around it under the name “Dar al-Sanaie,” and the main square of the city is connected from the Arg and the green square to the spacious Toopkhane Square. Several new streets are illuminated with gas lamps. [15]
The decades of the 1940s and 1950s are considered a turning point in the history of contemporary thought in Iran. During this period, indigenous and historical markets were vibrant in intellectual and scientific circles. The success of predominantly left-leaning movements in the Third World and the power-oriented policies of the establishment led intellectuals to seek indirect ways to express their protests. Daryush Shayegan, Ehsan Naraghi, and Hossein Nasr were among the intellectuals advocating indigenous thought. The analyses of these thinkers were mainly based on the dichotomy of East and West. The East is often portrayed with positive qualities, while the West is depicted with negative traits. Cultural modernism is largely rejected, and in some cases, only the use of Western techniques and science is recommended. Terms like opportunism, mechanization, self-alienation, loneliness, and others are repeatedly used. In line with these intellectuals, architects were also seeking a kind of indigenous architecture. What took shape during this period as “indigenous architecture” was nothing other than modernized architecture with a tendency toward indigenism and, consequently, historicism. For these architects, indigenism, in its broadest sense, had a profound and dynamic meaning. Indigenism, in the broadest sense, can be seen as a principle advocating the revival, restoration, or continuation of native cultural customs, beliefs, and values. It is rooted in deep-seated beliefs such as resistance against foreign cultures, respecting authentic and genuine national identity, and the desire to return to untainted indigenous cultural traditions. [13]
Houshang Seyhoun, Abdulaziz Farmanfarmaian, and Kamran Tabatabaii Diba are among the pioneering architects of this generation. The design and construction of modern collective spaces, such as cinemas, stadiums, parks, and museums, are commonly approached with an indigenous perspective. The role of architects in this period is more vivid than in the previous era. In this era, the process of designing and selecting architecture was carried out in the Faculty of Fine Arts. Unlike the first Pahlavi era, where the court had so much involvement in selecting designs that they called the national style architecture “Rezashahi architecture”. Given the relative independence of universities during this period, which is evident in their orientation towards political issues, the success or failure of indigenous architecture cannot be directly attributed to political governance.
International style is another approach in the architecture of this period. Buildings that had minimal differences from those constructed in the West. The cost of their construction was covered by oil revenues, making Tehran more similar to European capitals. [10]
8.4. Concepts and Underpinnings of Contemporary Architectural Thought in Iran
In other words, if we consider the Qajar period, it can be stated that the idealistic heavenly concept of Iranian architecture gradually found its earthly manifestation in the city of Paris and other European cities. This manifestation is imposed on architects and builders of such structures by the employers and owners of these buildings; otherwise, architects and artists did not have the opportunity to travel to the land of Europe and witness this earthly paradise and the bride of world cities. [10]
During the two decades of Reza Khan's reign (1925-1941), the Iranian government played a determining role in architectural style, and most architectural projects were executed by the government. [17]
The first phase of industrialization in Iran began in this period. Cement, crystal manufacturing, paper production, weapon manufacturing, and tobacco factories were established around Tehran. These and some other constructions, with modern Western architecture, transformed the face of the city, turning Tehran into a new city. [18]
One of the side effects of Reza Shah's government construction program was a significant increase in various construction materials. New materials, especially concrete, steel, and glass, along with innovative methods in structure implementation, replaced old materials and methods. The fundamental principles of design, which had been prevalent for centuries, changed, and in some cases, fundamentally different designs for spatial embellishments took their place.
The most significant change was due to the use of concrete. The use of concrete in this period led a new generation of Iranian architects to join the global trend of modernism. Circular shapes, wide openings, and open plans were areas where concrete provided a platform for entry. With this trend, a new architectural style emerged, known as cement architecture.
Many other materials, such as steel and glass, which were initially used in government buildings, also found application in residential architecture. Large glass panels were used for windows instead of traditional lattice windows, and small rectangular glass. Cement mosaic was used to cover the terraces, courtyards, and interior floors of houses. During the Pahlavi era, the use of new materials allowed for the construction of various modern houses, forever altering the appearance of buildings and the city.
During the Pahlavi era, a decision was made to reform the existing condition of Iranian cities, especially large cities. These activities involved making physical changes to the historic fabric of the cities. However, scattered urban development activities were also observed during this period. The first urban planning law in Iran, likely rudimentary and possibly without the use of studies and urban planning laws of other countries, was passed in 1933. This legislation pertained to the construction and development of passages and streets. In July 1941, this law was amended and reconsidered under the title “Development of Passages Law”. [19]
With the outbreak of World War II in Iran in September 1941, urban planning activities either came to a halt or significantly decreased. However, the occupation of Iran until the end of World War II influenced the tastes of society and had an impact on prevailing thoughts and culture, becoming a factor in shaping the Iranian spirit in construction.
The activities carried out in the 1940s can be summarized as follows:
The actions taken during the time of Reza Shah were physical changes that were implemented without consideration for their economic and social consequences. These actions aimed to adopt the modernization model. The goal of these changes and transformations was to create cities similar to Western examples.
However, urban planning actions from the reign of Mohammad Reza Shah onward were carried out within the framework of development plans as follows:
After the revolution, urban planning concepts shifted towards the idea of comprehensive urban development, and plans for comprehensive rural and settlement projects were introduced. Within and around cities, preparations for land development, design and construction of urban highways, design and creation of parks, green spaces, and more, were considered. However, perhaps the most significant urban planning initiative after the revolution can be seen in the planning and establishment of new cities. [22]
Over the past few decades in Iran, Western concepts and ideologies have been utilized in cultural, social, environmental, and physical domains, giving rise to a somewhat industrial application of modernism. On the one hand, modern policies, technology, and architecture align with any religion due to their impartial nature. As a result, many public decisions in the societal structure, education, and the formation of physical environments to a large extent pay attention to Western models. This is happening while the government's main policies, urban development strategies, and legal regulations are closely aligned with Western laws, and currently, Iranian cities exhibit a duality. On the one hand, the process of evolution, rapid growth, and construction development in these cities leaves no opportunity for adaptation to indigenous architecture.
With the emergence and development of modern architecture, plans, which previously had minimal alignment with the past and traditional architecture of Iran, took on a distinct, simple, and functional form. No longer characterized by large, unused spaces, wide and lengthy ceremonial stairs, and classical grandeur, the plans acquired a new shape, departing from previously prevalent symmetrical and predominantly large and ostentatious spaces. Terraces facing the streets and thoroughfares, row windows, unique protrusions on shoulders, and the emergence of cubical and cylindrical projections in the facade, along with the use of cement materials in the facade, are distinctive features of modern architecture in Iran. The symmetry in volume, facade, and plan, which was previously a characteristic of Iranian architecture, has significantly diminished. [4]
These changes are not limited to volume and plan; other aspects of these changes include:
Architectural facades in the international style changed in the second half of the first Pahlavi era, particularly when compared to the Girls' School building, which was the first structure constructed in the international style in Iran. Some of these changes include:
9. Conclusion
Iranian architecture, which has a continuous history of over six thousand years, experienced a significant shift during the Qajar period. The commencement of this change can be attributed to the official visits to Europe by the ruling elite and the Shah's and his court's familiarity with European architectural innovations. However, the turning point in these changes occurred during the early Pahlavi era. During this period, the pace of the mentioned transformations accelerated to the extent that the early Pahlavi era can be considered the foundation of modern architecture in Iran. To establish administrative power centers, which took the form of monumental complexes, Western architects and urban planners were extensively employed. They applied patterns used in Western modern architecture in their designs, while the focus of such activities in the capital and the need for large-scale renovations led to the destruction of some valuable architectural structures from the past.
In this period, population growth and explosion necessitated the production of more architectural structures. Urbanization growth also facilitated the unrestricted expansion of cities. Following the regime's policy of modernization, which aimed at countering the intensification of Western culture and confronting religion, in addition to the construction of new recreational centers, the situation turned completely towards Westernization. Subsequently, issues of affluence intensified, and traditional sanctities were eroded.
Among the numerous initiatives was the presence of European architecture professors to teach architecture and establish higher education departments, drawing inspiration from the educational programs of European architecture and urban planning schools that took shape during this period. This included sending groups of students abroad to study architecture and urban planning, as well as the return of individuals who had studied abroad, both of which had a significant influence on the absorption and impact of Western architecture and urban planning in Iran.
During this period, the expansion of foreign relations facilitated increased Western presence in Iran. The creation of economic opportunities for new social groups ensued, leading to the strengthening of economic infrastructures and the establishment of foundational industrial centers. It's worth mentioning that the introduction of new construction materials and methods brought about a vertical dimension to the structures.
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