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Tari
Metaphysics of Objects
History tells us that each art form moves at its own pace, meaning one art might thrive in its golden age while another stagnates in mediocrity. Hence, a single spirit does not propel all disciplines forward simultaneously. The question then arises: can Iranian architecture be a formalist discipline? Iranian culture, religious teachings, and geographical conditions have shown that architecture is inherently utilitarian and programmatic. Meanwhile, on the other side of the world, Kant argued that art could ascend to pure beauty by disregarding external relations such as ethics or politics. Eisenman similarly pursued this path in architecture, subverting functionality by, for instance, placing columns in dining halls. The implications of such an approach for architecture are worth considering.
For example, if a painting demands active participation from its viewer, it arguably loses its purity—this could extend to all art forms. Nonetheless, the utility of architecture is not a dangerous flaw that excludes it from the realm of high art. In fact, three attributes distinguish architecture from other visual arts. The first is space—architecture can be inhabited, unlike other art forms. The second is utility. The third is time, as architecture evolves and transforms over time.
Why, then, is the Tarikhaneh of Damghan significant for us? This structure, embodying Parthian and Sassanian architectural identity, now consists of a courtyard and a few scarred arcades leading to a modified winter prayer hall. Its circular columns and semi-circular arches, reflecting pre-Islamic architectural language and technique, were repurposed following the Arab invasion, transforming the site from a fire temple to a mosque. This redefinition adapted techniques to the era: the house of God continuously evolved, integrating pointed arches, unadorned Seljuk minarets, and decorative brickwork in the Razi style. The roofs collapsed, leaving visible scars as a testament to these changes.
Thus, Iranian architecture, exemplified by the Tarikhaneh, is inevitably bound to time. With a poetic perspective, the three aforementioned attributes—space, utility, and time—can be reinterpreted through an object-oriented ontology (OOO). Graham Harman’s concept of “zero-functionality” or formal programming provides a lens for this exploration.
Object-Oriented Ontology in Architecture
Object-oriented ontology (OOO) draws attention to the materiality of architecture, emphasizing the significance of non-human actors in the built environment. This philosophy encourages architects to engage with the intrinsic qualities, capabilities, and behaviors of materials, components, and tools, acknowledging their roles in shaping architectural experiences and functions.
But how does this ontology apply to Iranian architecture? At the very least, it challenges dogmatic perceptions, offering a contemporary reinterpretation of Iranian architectural structures. This idea manifests when architecture approaches zero-functionality. In this atmosphere of spatial hierarchy dissolution, collage, defamiliarization, and entanglement, architecture becomes independent of its context, aligning with a horizontal ontology.
The starting point lies in breaking free from dependencies—on tradition, history, and narratives. For instance, this exercise began by disregarding the rational geometry of the Tarikhaneh, engaging in dialogue with the subconscious and organic structures of Iranian architecture. The design elements were metaphorically dismantled and scattered across the ground. To assert their existence boldly, these components were vertically reassembled along a random linear axis within the Seljuk minaret, forming a hollow shape containing suspended objects. These objects became the minaret's content, while anything outside the container was trimmed away. Some fragments fell and floated in water, emphasizing their disengagement from conventional architectural frameworks.
A Critique of Archaism
Iranian artists, endowed with the vast heritage of their homeland’s art history, can integrate this wealth into their works without succumbing to archaism or traditionalism. As Eisenman noted, "To be, one must resist being." Here, the first being refers to survival, while the second refers to oblivion. A critical and daring examination of historical assets is essential for contemporary practitioners.
The Tarikhaneh Project reflects a distinctive reinterpretation of the past, uncovering latent potentials for contemporary reproduction through architectural subversion. It deliberately creates a gap between the architecture of place and the dimension of time, exploring formal possibilities. This exercise could be described as a quest for placelessness—neither anchored in the past nor projecting into the future, but maintaining a connection with the absent past.
This shift aligns with OOO, which disrupts conventional evaluation criteria. For instance, traditional aesthetic benchmarks of Iranian architecture, firmly rooted in collective memory, are reimagined. This redefinition influences the audience’s source of inspiration, replacing it with a fluid ontology of forms.
A New Medium for Architecture
Consider a container filled with water and a tilted, irregular metal column—fragments of a whole, ruptured in the middle of the Tarikhaneh. This exercise exemplifies a new platform for growth in historically and socially significant spaces. Crucially, this experiment minimizes human agency in relation to objects. In the subconscious realm, intervention, manipulation, and judgment lie beyond human control. This does not seek to erase humanity or Iranian architecture. Instead, by understanding the evolved structures of architecture, it deconstructs and breathes new life into them, defining new paths tailored to today’s needs.
History tells us that each art form moves at its own pace, meaning one art might thrive in its golden age while another stagnates in mediocrity. Hence, a single spirit does not propel all disciplines forward simultaneously. The question then arises: can Iranian architecture be a formalist discipline? Iranian culture, religious teachings, and geographical conditions have shown that architecture is inherently utilitarian and programmatic. Meanwhile, on the other side of the world, Kant argued that art could ascend to pure beauty by disregarding external relations such as ethics or politics. Eisenman similarly pursued this path in architecture, subverting functionality by, for instance, placing columns in dining halls. The implications of such an approach for architecture are worth considering.
For example, if a painting demands active participation from its viewer, it arguably loses its purity—this could extend to all art forms. Nonetheless, the utility of architecture is not a dangerous flaw that excludes it from the realm of high art. In fact, three attributes distinguish architecture from other visual arts. The first is space—architecture can be inhabited, unlike other art forms. The second is utility. The third is time, as architecture evolves and transforms over time.
Why, then, is the Tarikhaneh of Damghan significant for us? This structure, embodying Parthian and Sassanian architectural identity, now consists of a courtyard and a few scarred arcades leading to a modified winter prayer hall. Its circular columns and semi-circular arches, reflecting pre-Islamic architectural language and technique, were repurposed following the Arab invasion, transforming the site from a fire temple to a mosque. This redefinition adapted techniques to the era: the house of God continuously evolved, integrating pointed arches, unadorned Seljuk minarets, and decorative brickwork in the Razi style. The roofs collapsed, leaving visible scars as a testament to these changes.
Thus, Iranian architecture, exemplified by the Tarikhaneh, is inevitably bound to time. With a poetic perspective, the three aforementioned attributes—space, utility, and time—can be reinterpreted through an object-oriented ontology (OOO). Graham Harman’s concept of “zero-functionality” or formal programming provides a lens for this exploration.
Object-Oriented Ontology in Architecture
Object-oriented ontology (OOO) draws attention to the materiality of architecture, emphasizing the significance of non-human actors in the built environment. This philosophy encourages architects to engage with the intrinsic qualities, capabilities, and behaviors of materials, components, and tools, acknowledging their roles in shaping architectural experiences and functions.
But how does this ontology apply to Iranian architecture? At the very least, it challenges dogmatic perceptions, offering a contemporary reinterpretation of Iranian architectural structures. This idea manifests when architecture approaches zero-functionality. In this atmosphere of spatial hierarchy dissolution, collage, defamiliarization, and entanglement, architecture becomes independent of its context, aligning with a horizontal ontology.
The starting point lies in breaking free from dependencies—on tradition, history, and narratives. For instance, this exercise began by disregarding the rational geometry of the Tarikhaneh, engaging in dialogue with the subconscious and organic structures of Iranian architecture. The design elements were metaphorically dismantled and scattered across the ground. To assert their existence boldly, these components were vertically reassembled along a random linear axis within the Seljuk minaret, forming a hollow shape containing suspended objects. These objects became the minaret's content, while anything outside the container was trimmed away. Some fragments fell and floated in water, emphasizing their disengagement from conventional architectural frameworks.
A Critique of Archaism
Iranian artists, endowed with the vast heritage of their homeland’s art history, can integrate this wealth into their works without succumbing to archaism or traditionalism. As Eisenman noted, "To be, one must resist being." Here, the first being refers to survival, while the second refers to oblivion. A critical and daring examination of historical assets is essential for contemporary practitioners.
The Tarikhaneh Project reflects a distinctive reinterpretation of the past, uncovering latent potentials for contemporary reproduction through architectural subversion. It deliberately creates a gap between the architecture of place and the dimension of time, exploring formal possibilities. This exercise could be described as a quest for placelessness—neither anchored in the past nor projecting into the future, but maintaining a connection with the absent past.
This shift aligns with OOO, which disrupts conventional evaluation criteria. For instance, traditional aesthetic benchmarks of Iranian architecture, firmly rooted in collective memory, are reimagined. This redefinition influences the audience’s source of inspiration, replacing it with a fluid ontology of forms.
A New Medium for Architecture
Consider a container filled with water and a tilted, irregular metal column—fragments of a whole, ruptured in the middle of the Tarikhaneh. This exercise exemplifies a new platform for growth in historically and socially significant spaces. Crucially, this experiment minimizes human agency in relation to objects. In the subconscious realm, intervention, manipulation, and judgment lie beyond human control. This does not seek to erase humanity or Iranian architecture. Instead, by understanding the evolved structures of architecture, it deconstructs and breathes new life into them, defining new paths tailored to today’s needs.
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