Beyond Axioms

In recent decades, dialectics in Iranian architectural theory have not been addressed consistently and in consequence, their critique or analysis is not possible in a systematic and structured manner. As a result, the relevancy of architecture to the public, the clientele and even the original designer becomes ambiguous and indeterminate. Thus we are confronted with designs which we don’t wholly understand, and ultimately what is offered as architecture is nothing more than a display of artificial formalism and compulsory faddism;  the lack of quality in itself rendering it obsolete.

Architecture is like a plant. Regardless of the many constitutive components, the attribute of life and growth is undeniable in a plant, it has hidden roots without which it cannot be unless artificially, nothing more than a lifeless body.  Appropriately, that which is produced under the category of architectural works can be divided into two general assemblages: authentic architecture with ‘roots’ and life-like qualities, or synthetic architecture which is rootless and simulative. ‘Roots’ suggest a wealth of theory, rational premise, recognizance and culture, which requires a particular perception and cultivation in order to be realized. The key principals for longevity and merit in a project are derived from the implication of vitality and ‘life’, which maintains a direct and immediate presence in the design process and project development. In the absence of such insight, the architect’s output manifests as nothing more than a mandated act. It is perhaps for this very reason that much of what is currently produced in the way of architecture [in Iran] fades soon after introduction, while only a marginal number of constructed works continue to thrive and grow in symbiosis with the user.

Several factors are involved in producing a valuable architectural structure; there is the design technology and construction, there are environmental, socio-political, and cultural factors, the allocated budget, as well as issues such as clientele patronage and expectations, among many others. Yet, when enormous time and monetary costs are augmented by the impact the structure implicates on society, the accountability of an architect for integrating all these divergent issues is amplified. Much of a designer’s success lies in the recognition and ability to utilize as well as integrate these factors and –the constraints and all limitations notwithstanding, ultimately realize all objectives advantageously.

Credible architecture evolves from mastering the succession of prevalent demands and desires from which a rational and cultural foundation is derived. It originates from an ideology which is equally established and confirmed as well as explorative of new horizons and radical discoveries;  thus [becoming] an interpretation of the environmental context as well as a glimpse of the world which it contemporaries, ultimately presenting a deeper and more expansive representation than the prevailing conventions.

Music must be heard, paintings must be seen, poetry must be read… and architecture must be lived. The goal of architecture should not be limited to the construction of a new structure, but rather to the generation of a response which is a derivative of the developmental process of a structure.  Architecture –as a constituent of a whole, will always influence the context surrounding it, whether the context be a neighborhood, a district, a city or, discriminately, the plight of contemporary man: mankind and his intrinsic desires.

Any [authentic architecture] project is unique with distinct features; yet simultaneously the general design process is always consistent. The first step is discovering or generating the potential which regardless of the project scale, expands the field of influence. The second step is identifying the user demands as well as the extent which the production of an architectural structure in parallel with technical, artistic and cultural development can address these aforesaid requirements. In mentioning these requirements, it is important to indicate that many human desires are acquired needs which are impressed on us through a consumerist culture in the interest of profit and power. Such needs are incongruent with true human nature and furthermore initiate complexities and impediments which negatively influence our lives.

Any trivial matter pertinent to humankind and our presence in the world is a point of conjecture and reflection and can easily expand into a compilation of scientific, technical, artistic and philosophical studies; consequently, research and analysis –and sometimes even the blueprint of a project, must often commence before a commission has even been acquired in order to manage time constraints in the design process and still obtain favorable results. Research is on-going and continues for the duration of the project, the results are collected and preserved until the optimal point in time and project development when they are drawn upon to enrich and cultivate an architectural work.

It is essential to resolve pre-suppositions and apparent axioms while considering the issues and criteria relevant to the design process in order to identify a more constructive course with favorable results. Questioning these assumptions and being critical of them assist in devising a strategy in which the multifarious ambitions of the project are addressed. This means confronting the obvious and that which appears to be self-evident and not unequivocally accepting established facts. An architectural work, in addition to the basic expectations of formal elegance and functional and structural responsivity, must recognize and reciprocate the user’s needs [and behaviors]. This is the unique charm which the architectural profession infuses into the built world and which simulative or artificial architecture is always lacking.