In the 1940s, Iran experienced dramatic changes in urban form, as worldwide modernization movements were embodied in new ‘modern’ neighborhood units in Tehran. Proposals for these neighborhoods, like those in other countries, not only included new housing typologies, but also aimed to alter existing social structures and facilitate nation building. Discussions and proposals regarding new neighborhoods centered on creating healthy, suitable, low-cost housing for new government employees – a group emblematic of Iran's newly established, modern middle class. However, the traditional lifestyle was an undeniable fact of society. Facing the modern socio-urban policies and socially traditional way of living led to both cultural change and landscape transformation. This paper discusses: how do regional architectural traditions transform the global modernity? How are Western conventions of how to be modern transformed by regional tradition and a different lifestyle? How does the institutionalization of modern neighborhoods, based on the lifestyles of its people, create an indigenous modernity? This paper illustrates how urban and social reformation practices towards modernization in the early twentieth century were embodied by Tehran's first modern neighborhood, Chaharsad Dastgah, as well as how domestic Iranian lifestyles influenced this neighborhood and distinguished it from its contemporaries.
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This essay investigates the Iranian encounter with and influence on the international modernist movement. The reception of international modernist discourses and their weaving into Iranian housing- and city-building practices contributed to the formation of a peculiar, alternative, and indigenous version of modernism that took hold in the 1950s. While such practices were clearly part of the international modern movement, they were simultaneously definable as uniquely Iranian. By analyzing the Narmak quarter in Tehran, this paper explores how the production of a middle-class neighborhood became part of a nation-building strategy. Through processes of moderation and appropriation, the idealistic modernist version was made more practical based on pre-existing socio-cultural characteristics and typological elements. Ultimately, this local version of modernism led to the acceptance of modernism, provoked an urban reaction and produced some unexpected social consequences.
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This paper explores how residents of Helmond Brandevoort, a neotraditional neighbourhood in the Netherlands, socially construct a 'classed' place identity and what role the historicised architecture plays within that process. Given that place identity is constructed through social and cultural practices, the paper argues that residents' consumption of historicised environment is bound up with drawing symbolic boundaries which were explored here by analysing residents’ narratives. Two prominent types of narratives were found: their aesthetic judgement of the residential environment and the way they use it. Through these layered narratives, all interviewees appear to use historicized aesthetics to classify themselves as part of a valued social category. In the neighbourhood explored, the way of boundary drawing based on fostering moral judgements of social behaviour accompanied by efforts to keep neighbourhoods' historicised image unchanged.
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