The buildings of a city with a certificate of their architecture are part of the environmental and physical body of the city, which express many cultural values, traditions and, in a general view, depict the architectural pattern of its neighborhoods.
A pattern that varies from neighborhood to neighborhood and from city to city. Also, “Yazd” and “Kerman” are known for their windmills that are in line with their climate, and the north of the country is known for its gables, bricks and wooden strata. The architecture of the southern cities of the country is shaped by thatched houses (capers) and of course Tehran is imagined with porch and multi-door mansions that over time, so-called modern buildings have taken their place and created an architectural heterogeneity in the city. Architects and urban planning experts do not feel a strong connection between the building components. The architectural pattern in the ninth part of the capital, considering the prominent symbol of the combination of local and modern architecture, namely the Azadi (Freedom) tower, is no exception to this architectural heterogeneity. To find out why this heterogeneity occurs and to erase culture and identity in the shadow of unsupported building design strategies, we sat down with Dr. Giti Etemad, a senior expert in architecture and urban planning and a member of the Association of Contemporary Architects, which we read below.
Do you think that the architecture of the city of “Tehran” has an independent identity and a clear brand?
Once upon a time, Tehran, with its special architecture, was in the transition from the classical period, when good and well-known works were also built in that period. But with the passage of time and the entry of business architects and market thinking into this field, it can be said that it is no longer news of a specific brand in Tehran. A brand whose signs can still be found in different neighborhoods. Including Freedom Square, which is a glorious symbol in the national and international arena. An architecture that well illustrates the intertwining of Islamic tradition and culture with national values. If this pattern continued in the process of construction in Tehran, we would now see brand architecture and identity in Tehran in which both the design and the materials used in them are appropriate to the climatic, environmental, historical, religious, economic, political, social and cultural characteristics. It was dominant and effective and did not interpret the architecture of Tehran as a heterogeneous architecture.
How is this architectural heterogeneity manifested in the construction of the northern and southern regions of Tehran?
In the division of Tehran into north and south and in the field of architecture, many parameters are effective. For example, the economic situation of the residents of that neighborhood and area is effective in using the quality of materials, area and type of drawings and architecture. That is why buildings in the northern regions are built in a special way with special facilities and in the southern regions with more limited designs. This different pattern, influenced by various factors, creates aspects of heterogeneity, in which, of course, it is necessary to mention the profitability of some investors and architects, who in fact sacrifice expertise and standard to greed and more money. This procedure may be implemented in all cities of the world. But what is important is the manner and extent of monitoring of the related devices, which unfortunately is less paid attention in the capital. An event that has created architectural chaos and damaged everything left over from the architectural heritage of the past.
According to your explanation, the lack of supervision of management agencies on how urban architecture is one of the most important factors in creating heterogeneity of builders in neighborhoods. Can you explain more?
When the supervision of urban architecture, from building design, location, compatibility with the culture and identity of the neighborhood and the city to the use of materials and taking into account the collective need for a particular style of architecture, is done completely and comprehensively, And the increase in density does not remain at different heights of the capital. Of course, policies in this area are not very strong and decisive. Policies that, if determined according to the same identity of architecture and principles of urban planning, both the builders in the city are associated with knowledge and thought, and the architectural heritage of the city is preserved. Because the preservation of architectural heritage is a specialty that requires a special style. The Freedom Tower, for example, needs expertise to protect it to prevent it from eroding over the years. A specialty that has not been well observed lately. While both preserving and inspiring this heritage is important in modeling and providing infrastructure that can make the city a better place to live in the near term.
Unprincipled renovations with manual tail standards
Giti Etemad says about the impact of Azadi Tower architecture on the construction process of District 9: Rather, we are faced with a mass of worn-out and even renovated tissues that are about to collapse. Renovations are completely unprincipled, general, and by completely straightforward standards. We do not expect that in the present age there will be any news of former mansions with interiors. But that style and context can be linked to the modern thinking of modern architecture, and it was the builder of buildings that are not known to the builders and do not destroy the visual identity of neighborhoods, especially old neighborhoods. The neighborhoods of District 9 each have narratives and stories that could and should be presented in the form of an original view. This architectural appeal also leads to the prosperity of other economic activities. Patterns of Persian gardens, Kasra arch, turquoise windbreak and spatial division with various functions of Azadi Tower could be effective in designing urban green spaces, construction of office and even private buildings. What is clear is the widespread impact of identity architecture on the beautiful view of the city and increase the cheerful spirit of citizens.
National symbol of Iranian masterpiece
More than 5 decades have passed since the Freedom Tower. The building was designed in 1966 by “Hossein Amanat”, an Iranian engineer, and was built in 28 months by a contractor named “Hossein Fathi”. This national symbol is located in Azadi Square, the western entrance of the capital, and more than millions of people pass in front of it every day. Iranians have many memories of this tower and they have preserved these memories by taking souvenir photos. In addition to the beautiful architecture that has been used outside this tower and has amazed everyone, even the world, inside this structure, there are different architecture and arts that are worth watching. In the second half of the 1960s, the design of the western gate of Tehran, which was adjacent to Mehrabad International Airport and was visible to the public, tourists, high-ranking political guests, and the like, was put to competition. The aim was to design a monument that, in addition to having special visual effects, is reminiscent of the historical, cultural and artistic background of this land and is also considered as a symbol of the capital of Iran. In this competition, the design presented by Hossein Amanat, who at that time was one of the final year students of architecture at the Faculty of Fine Arts, University of Tehran, won. His plan, after initial acceptance, was completed and turned into executive plans with special care. Supervision of proper execution was also the responsibility of consulting engineers Hossein Amanat et al. The main part of this building was built in 30 months, with very high quality and details that were designed for this building for the first time, and was inaugurated on October 16, 1971, and its side parts were put into operation in 1974.
News Source: Hamshahri Online
