It is truly difficult, if not impossible, to determine the exact beginning of architecture in Iran. However, based on historical inscriptions and similar evidence, researchers estimate that the earliest signs of Iranian architecture date back about 5,000 years. The starting point of architecture in Iran’s history is generally attributed to the era of the Medes.
In Iranian architecture, alongside features such as proportion and the beauty of portals, domes, and iwans, the most remarkable quality worth studying is the essence of Iranian architecture, its mathematical and mystical logic. Great attention has been paid to light and brightness, with a deliberate avoidance of darkness.
In fact, architecture reflects the worldview of a nation’s people; therefore, it goes far beyond merely constructing buildings, it is considered the very foundation of life itself.
The general characteristics of Iranian architecture include introversion, avoidance of futility, human-centeredness, self-sufficiency, mastery of materials, and niyāresh, that means knowledge of construction techniques.
The evolution of Iranian architecture is rooted both in historical events and in the diverse natural climates of Iran. The cultures of conquerors and the conquered, who entered the land of Iran over centuries, have also had a profound influence on Iran’s architectural culture. Iranian architecture beautifully reflects the customs, religious rituals, spirit, ethics, ideas, and beliefs of generations.
Decoration holds a special place in Iranian architecture, it can even be said to be inseparable from it. In brickwork, tilework, stucco, and mirrorwork, one witnesses dazzling ornamentation that fills traditional Iranian spaces with spiritual beauty.
The colors of Iranian tiles are often turquoise and lapis lazuli, followed by white, green, and gold. These colors are common throughout Iran’s traditional arts. Mirrorwork (āyeneh-kāri) is a delicate art used in decorating the interiors of buildings, vaults, porticos, halls, and more. Muqarnas (stalactite work) and stucco carving are also among the decorative features of Iranian architecture.
In fact, Islamic art and architecture in the world developed along four fundamental styles, Egyptian, Syrian, Maghrebi, and Iranian; with the Iranian style being the most important and widespread. Structures such as Persepolis (Takhteh Jamshid) bear witness to this claim. According to archaeological findings, Persepolis dates back to 518 BCE, long before the advent of Islam. Despite the passage of thousands of years, many architects worldwide still study this masterpiece in awe, seeking to uncover the secrets behind its ingenious construction.
One of the architectural wonders of Persepolis lies in the use of the Golden Ratio, the height-to-width proportion of its doorways and the height-to-spacing proportion of its columns both follow this mathematical relationship, which exists naturally in the world. This demonstrates the sophistication of ancient Iranian geometric design.
After the rise of Islam, one of the major transformations in Iranian architecture was the conversion of Sassanid fire temples into Islamic mosques and shrines. However, the stucco and tilework techniques were preserved. During the Safavid era, due to increased contact with Western countries, elements of Western architecture were incorporated into Iranian design. The fusion of these two traditions resulted in unparalleled masterpieces such as Naqsh-e Jahan Square and Ali Qapu Palace in Isfahan.
Another unique example of Iranian architectural art is the Ali Qapu Palace and its Music Room. The architectural technique used for this Musical Room is known as tang-bori, a type of stucco carving applied to walls and ceilings. In this method, the shapes of vessels and objects are carved in relief using a thin layer over the main wall, leaving a hollow space behind, so real instruments could fit within the design .This room also has a remarkable acoustic feature: it prevents echoes. The architecture of the Music Room was designed so that when music was played, the sound was naturally distributed without reverberation or distortion. One of the prominent architects of this period was Ali Akbar Isfahani.
Iranian architecture also greatly influenced the regions of Central Asia and the Indian subcontinent. Many architectural works in these areas were inspired by Iran. Some Iranian architects even created masterpieces abroad, for example, the Taj Mahal in Agra, India. Around twenty thousand artisans and architects from Iran, India, Anatolia, and Central Asia contributed to its construction and design. The inscriptions and signatures on the walls of the Taj Mahal reveal the work of the famous Iranian architect Master Amanat Khan Shirazi.
It is easy to see traces of Iranian architecture throughout world history, as it influenced Byzantine architecture and extended its impact to the far reaches of Europe.
In conclusion, modern Iranian architecture has been greatly influenced by traditional Iranian-Islamic styles. Many contemporary architects strive to preserve the principles and concepts of classical Iranian architecture in their designs. For example, the use of symmetry and inward-facing spaces in modern houses and mosques reflects this influence. This synthesis not only preserves Iranian identity but also embraces the functional aspects of modern architecture.