In this eye-candy survey of Iran's newest architectural projects and prevailing trends, Architectural Digest takes a closer look at how the country's architects and architecture is shifting to not only attract more media attention, but to create a new visual identity:
"Right now, the massive trend in Iran is to design and build structures with the goal of being recognized by the media,” says Hooman Koliji, associate professor of architecture, planning, and preservation at the University of Maryland. “Therefore, there is an implicit effort and competition to create forms that look different and, dare I say, sexy.” This approach to modern architecture has garnered great results for Iranian talents such as Leila Araghian, whose design of Tehran’s Tabiat Pedestrian Bridge took home the prestigious 2016 Aga Khan Award for Architecture, bestowed every three years. Certain elements of Araghian’s bold, modern design incorporate motifs of Iranian architecture dating back centuries. With its close proximity to the spectacular Alborz mountain range, the Tabiat Pedestrian Bridge became an instant viewing gallery for the building’s natural surroundings.
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6 Comments
I can't stop laughing, so when Gehry does it in Bilbao is not to be recognized by the media?
When Zaha built that horrible wristwatch billboard was for the good of the country and the profession?
Iranians have been building 'sexy' structures for thousands of years. What kind of architectural education does the author have, may I ask?
http://archinect.com/news/article/149982571/manila-s-new-wavy-mixed-use-tower-opens-in-the-city-s-booming-financial-district?utm_content=bufferb8ced&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
this is the bias of this website and this civilization
The astonishing insight in that piece is giving me a headache.
I think it's more like the media is finally paying attention again to Iran rather than Iranian architects making design decisions to be noticed by Architectural Digest.
Similar to the Einstein Tower ... Erich Mendelsohn. Potsdam. 1920
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