Persian in practice. Iowa Research Online. University of Iowa. Sogol Rashti University of Iowa. Theses and Dissertations.

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1 University of Iowa Iowa Research Online Theses and Dissertations Fall 2015 Persian in practice Sogol Rashti University of Iowa Copyright 2015 Sogol Rashti This thesis is available at Iowa Research Online: Recommended Citation Rashti, Sogol. "Persian in practice." MA (Master of Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Art Practice Commons

2 PERSIAN IN PRACTICE by Sogol Rashti A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Art in the Graduate College of The University of Iowa December 2015 Thesis Supervisor: Associate Professor Monica Correia

3 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL This is to certify that the Master's thesis of MASTER'S THESIS Sogol Rashti has been approved by the Examining Committee for the thesis requirement for the Master of Arts degree in Art at the December 2015 graduation. Thesis Committee: Monica Correia, Thesis Supervisor Steve McGuire Kee-ho Yuen Daniel Miller

4 To all the creatures that I have love for ii

5 "If you can design one thing, you can design everything Massimo Vignelli iii

6 ACKNOWLEDGMENTS Thank you to my mom s soul who is continuously guiding me along with the universe toward my goals Thank you to my dad who s never stopped supporting me throughout my college career as well as every stage of my life, up till this point Thank you to my mentor, Professor Monica Correia, for making me think outside the box and opening new horizons in my professional life. iv

7 ABSTRACT Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth. Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture. Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces. v

8 PUBLIC ABSTRACT Since Persian cultural civilization has such a prolonged history, dated back to 5000 B.C., it is considered to be a very rich source of inspiration for art and architecture enthusiasts to explore and benefit from within their own works. Within Persian architecture, a profound emphasis is placed on beauty and sacredness to create a visual representation of heaven on Earth. Along with that, the divine talent of Iranian calligraphers shone through in their unique styles and patterns. As a Middle Easterner who is familiar with and experienced through the realms of Persian ideology, it was a great feeling of satisfaction to bring that eastern world s features into practice within the western world. The designing and manufacturing of these collections within this thesis was derived from the most notable patterns and basic elements of Persian architecture and calligraphy. The design purpose was to elaborate on the aforementioned components to create aesthetically pleasing functional products. vi

9 TABLE OF CONTENTS LIST OF FIGURES... viii CHAPTER I. RESEARCH... 1 The Concept of Geometric Forms in Persian Architecture... 1 Parviz Tanavoli s Masterpiece in Calligraphy... 5 Research Conclusions and Design Goals CHAPTER II. DESIGN Design Technique Alphabetical Chair Tabs and Curves (the light) Triangular Set CHAPTER III. PRODUCTION CONCLUSION BIBLIOGRAPHY vii

10 LIST OF FIGURES Figure 1: Geometric Patterns Figure 2: Geometric Patterns Figure 3: Jameh Mosque in Yazd, Iran Figure 4: One Form of the Heech Series Figure 5: Two-eyed Written Figure Figure 6: Heech Tablet Figure 7 : Poet Turning Into Heech Figure 8: Alphabetical Chair Figure 9: Alphabetical Chair Figure 10: Alphabetical Chair Figure 11: Lamp Shade Details Figure 12: The Lampshade Figure 13: The Coffee Table Figure 14: Stackable Stool Figure 15: Stackable Stool Figure 16: The Coat Hanger Figure 17: The Coat Hanger Figure 18: The Triangular Set viii

11 CHAPTER I RESEARCH The Concept of Geometric Forms in Persian Architecture Nature has a natural and profound source of sacred geometric forms, the origins and utilization of which go back many centuries ago. The sacred conception of numbers and their symbolism involved the Pythagorean tradition, the Egyptian and Babylonian sciences, and especially pertained to Persian mathematics. The symbolic configurations of space are directly correlated to the traditional geometry. Geometric forms are unified in shapes such as the triangle, square and various regular polygons, as well as the spiral and the circle. A direct depiction of the utilization of proportions in Persian architecture is proven through geometrical analysis of Persian historical buildings. Examples of this are the design of plans, elevations, geometric and architectural patterns, and mechanical and structural features. Absolutism was the main objective of Persian traditional architecture. In this sense, archetypal ideas dealt with patterns and focused on the realms of spirit and wisdom, and geometry was a depiction of holiness itself. The structure of ancient Persian geometry represents the universe as the domain of the absolute, and the origins of sacred geometry attract the Divine Nature. The most prominent example of this ancient geometric form is the structure of the domes within traditional temples, which symbolizes the heavenly sphere above embracing the earthly circle below. Expressions of divine order, harmony and beauty, are reflected in a symbolic language derived from the universe and nature (created by the Absolute), within sacred architectural buildings. One specific aspect of this geometry is depicted in the use of spirals within the architecture; this is generated by gnomonic expansion (circles represented by straight lines). In Persian architecture, the use of spirals is displayed in arabesque patterns, which indicate infinity and multiplicity as the creation of the universe. Arabesque patterns express a return to the unity. 1

12 Persian architecture represents the cosmos in earthly dimensions through sacred geometry. All dimensions of architecture are interrelated within geometry, which causes man to utilize it to further examine nature. Geometry is the foundation of Persian architectural monuments. The architypes and the great architecture of the world are evident in exterior structures through the use of geometry as art for creation of shapes, patterns and proportions. When geometry is correctly utilized, it enables the building to behave correctly. In terms of Persian architecture, the fields of metaphysical man and mathematical aspects, through some comprehensive research works, have revealed the profound knowledge used within it. One such instance where geometry is utilized is through the display of patterns within the architecture. It is symbolic of infinity and timelessness, where its beauty and harmony reflect a higher order known as cosmic laws; through spirituality, man strives to access patterns as a way to understand the creator. Geometric patterns develop side by side to cover a surface as the basic fact of Persian architecture. Examples of these patterns used in prominent Persian monuments such mosques, are displayed in the figures 1 and 2 below. Figure 1: Geometric Patterns. 2

13 Figure 2: Geometric Patterns. The knowledge of proportions, widely used in Persian architecture and as the basis of Persian esthetics, is shown and proven in the geometrical analysis of many Persian historical buildings. An example of these proportionate displays is evident in figure 3 (Jameh Mosque in Yazd, Iran) where calligraphy is incorporated among the other geometrical shapes. 3

14 Figure 3: Jameh Mosque in Yazd, Iran. The plan for many Persian buildings was centered on a framework of squares and equilateral triangles. The intersections of these shapes gave all the important fixed points such as the doors width and height, the galleries width, length and height, and the position of inscriptions. The sizes of every part were interrelated and had defined proportions. A building was a harmonious display of related elements that matched in structure, and that were pleasing to the eye. Stability is attained through a perfect geometry; this is a historic principle that goes back to the origins of Persian buildings. Persian architecture is a direct reflection of divine beauty, which is in itself a sacred entity. It is reflected through patterns of direct proportions, and that creates a harmonious bond between the realistic and the sacred geometry. 4

15 Parviz Tanavoli s Masterpiece in Calligraphy Parviz Tanavoli is undoubtedly one of Iran s greatest modern and contemporary artists, and the father of Iranian modern sculpture. He is recognized as the most significant and pioneering artist in the Middle East, primarily in Iran. His work is housed in art collections, museums and public spaces around the world, as well as in his native Iran, and Tanavoli is one of the most significant collectors of traditional Iranian arts and crafts in the world. He won the Royal Awards in the second Tehran Biennale in After different experiences such as teaching at art colleges and universities in Iran and the U.S.A, funding Saqqakhaneh School (a school of art that derives inspiration from Iranian folk art and culture), and having had exhibitions all around the world, he has been distinguished as the finest draughtsman of his generation. His shows mostly featured over thirty five pieces including fiberglass and bronze sculptures and ceramics, combined with contemporary drawings, which stressed his permanent and joyful love for Persian architecture, culture and poetry. His writings, designs, and art works exhibited an awareness of the traditions of Iranian life gained from extensive travels to tribal areas and villages of Iran. Heech (هیچ) is the Persian word for nothing, and over the years, Tanavoli has modified the form, and made several art pieces ranging from sophisticated jewelry to bronze statues to enormous sculptures made of fiberglass. His sculptures were monumental. The Persian word for nothingness (Heech) could be read easily by any Iranian, and it is read from right to left. It is composed of three letters: the head is like H, the center is like I (or double E), and the curve is like CH at the end. Indeed, the H looks like a head with two little eyes peering out. In , Tanavoli transformed the insignificant, often-synonymous word for nothing into elegant 3-D and human-like forms. The Heech sculpture is part of Tanavoli's famous statue series based on the word Heech. Sculptures are found in prestigious museums and galleries throughout the world. Figure 4 shows one from of the Heech series. 5

16 Figure 4: One form of the Heech Series. Tanavoli s perception was to free his mind from all acquired knowledge. He was in search of a form that in the end could not be found, and Heech was the shape that was unique from all he had previously known. It had a delicate flowy figure, sinuous and graceful, and the eyes were overflowing with meaning. As Annemarie Schimmel noted, the calligraphic concept for the two-eyed written figure presented a feeling of overwhelming sadness (figure 5). She commented that Tanavoli expressed this emotion very well through his elegant design and was a major art form within Iranian cultural history. Mark Rothko wrote that art resembles philosophy at any and every point in time. Tanavoli s work directly pertains to Rothko s words in that it displays a record of Iran s monumental history. 6

17 Figure 5: Two-eyed Written Figure. One of his most substantial works, which greatly reflects the Persian culture, was called the Heech Tablet (1973). Heech Tablet revealed his interest in ancient Persian civilization. Its visual structure was described as such: it stood on a travertine stone base, at a height of seven feet. It was made of bronze, which was covered with markings mimicking cuneiform script that created an outline of the word Heech. Locks were hung on the lattice grillwork of shrines; this was evident within the markings. Refer to figure 6. Tanavoli included this work as a direct bond between word and image. Tehran holds a replica of the Heech Tablet in the Iran Bastan Museum. The work was partly inspired by the famous Babylonian Hammurabi in the Louvre in Paris. 7

18 Figure 6: Heech Tablet. This work led to other artistic projects. One of them (shown in figure 7) was the idea of Poet turning into Heech, which first appeared in Mysticism, poetry, and oneness with divine were once again the spiritual currents that ran through this work. The Farsi word Heech, was a frequent theme in his work. The artist had represented this symbol in a variety of different ways, although always in a visually stunning, and unexpected manner. Heech could be recited as a reflection of the feelings of obstruction and unworthiness of the modern man. 8

19 Figure 7 : Poet Turning Into Heech. As mentioned previously, Tanavoli was always drawn to words and letters pertaining to the long history of the Iranian culture. He was not alone in this; among others, two groups of Sufis were immersed in the same concept. Heech was an artistic symbol for many, including Tanavoli, which is what led to the universal acknowledgment of this form. 9

20 Research Conclusions and Design Goals The thesis collection was designed based on the design components in Persian architecture, and also put an emphasis on Parviz Tanavoli s works through his utilization of Persian calligraphy in his designs. Further elaborations on the curve, which included geometric forms such as the triangle, spiral and the circle, resorted to the creation of a design which portrayed all the possible elements of Persian art, design, and architecture. These all represented Persian history and culture in the form of aesthetically pleasing functional objects. 10

21 CHAPTER II DESIGN Design Technique The basic shape of geometric forms and connecting curves, as well as calligraphic designs, were used as a representative of the universe in earthly dimensions through sacred geometry of Persian architecture. The curved shapes created abstract compositions, defining the concept of Persian architecture within it. This design method has been used through the following collection. Alphabetical Chair The chair was derived by the shape of letter "H" or " "ه in Farsi. Organic and curvilinear shapes were incorporated into the side profile while shaping the chair volume, experimenting figure and ground relation, all while the legs were touching the floor. The two eyes of the letter "ه " the shaped the body of the seat in a graceful manner. The purpose was to repeat ه H- shape along the X axis to form the surface of the seat and back. Elaborating around the form, three conjoining pieces were placed: one on the top, one on the bottom, and one on the front side of the seat. A slotted design was made in AutoCAD, which faced failure while assembling CNC laser cut prototype, as it was not ergonomically coordinated or functional. In response to this miscarriage, the form was remodified multiple times in order to expand the seat of the chair, whilst simultaneously widening the back in direct accordance to it. After the structure design was stabilized, a number of revisions were done starting with ergonomics. The chair form changed dramatically; the curves of the letter s two eyes kept deforming gradually until they produced a 3D shape on the main body of the chair. The seat height rose to meet the standard height for the body. The full scale chair proved to be steady and followed the ergonomic rules. Refer to figures 8, 9 and

22 Figure 8: Alphabetical Chair. 12

23 Figure 9: Alphabetical Chair. Figure 10: Alphabetical Chair. 13

24 Tabs and Curves (the light) Experimenting with soft and organic forms was a magnificent source of inspiration to initiate the idea of the table lamp. Tabs and curves maneuvered on the organic volume and the free form of spiral which were identified as the basic elements of sacred geometry in Persian architecture. The volume was initialized in 3D Studio Max, and converted into software called Papakura, which makes unfolded patterns of 3D data. The unfolded patterns have been modified in AutoCAD and laser cut on cardboard in different sizes. After making various prototypes, and playing around with the form, the most harmonic spiral volume emerged, which formed the lamp shade of the table lamp. The base of the lamp was made out of different layers of aluminum which was produced through a waterjet machine and lastly screwed together in order to hold the pipe and lamp shade installation. Figure 11 shows the lamp shade details. Figure 11: Lamp shade Details. 14

25 Figure 12: The Lampshade. 15

26 Triangular Set Designing the chair along with the maneuvering of the curvilinear shapes, offered a valuable lesson for the next furniture set. While visualizing the finished product of the chair, the process of designing the form was met with failure before the function was complete. Picking the new design concept, the Triangular Set design process began playing around with the curvilinear triangle shape, which is a basic element in Persian architecture. A comprehensive study on the furniture design and ergonomic structure in terms of its guidelines was applied into the new set of dimensions and stability. The design purpose was to utilize rectangular shapes, a main component of the geometry of Persian architecture. The major design element throughout the furniture set was such that each piece was in relation with another throughout a curvature story. AutoCAD has been used as the most essential tool to draw and manipulate this dramatic process. The triangular set went through the most design revisions. Various prototypes were made in order to examine the structural stability and gravity, as well as to figure out the right dimension. Multiple adjustment and modification were applied to the set, and the original design was changed during the design process. The initial design used wood and cardboard. The coffee table was designed with three angles; keep in mind that every angle had its own tolerance and stability. See figure

27 Figure 13: The coffee Table. The stool was stackable; it provided the same design elements with the same feature benefits, whilst providing stability as well. Presented in figure 14 and 15. Figure 14: Stackable Stool. 17

28 Figure 15: Stackable Stool. The freestanding coat hanger was inspired from triangle as one of the basic elements in Persian architecture and designed with the curve lines. It is manufactures with four hooks, one in each direction. It could be assembled and disassembled with multiple joints that held the four pieces together while they were connected through each other, creating a harmonious gravity through a triangular combination. Refer to figures 16 and

29 Figure 16: The Coat Hanger. Figure 17: The Coat Hanger. Figure 18: The Triangular Set. 19

30 CHAPTER III PRODUCTION Using a computer numerical control (CNC) wood router, the final pieces were cut out of ¾ plywood. Figure 20 shows this device. All the pieces have been designed and modified using AutoCAD software and were transferred into the CNC wood router, which cut the wood based on the provided computer file. The sheets used were 4 x 4, which fit the router bed. In order to prepare the sheets to be cut by the CNC wood router, the designed pieces were localized close to each other in order to avoid any kind of waste. In order to make the AutoCAD design files readable for (CNC) wood router, the software platform PartWorks was used to convert the files. Multiple tabs had to be added along the shapes edges in this software, in order to prevent the wood from getting any kind of damage while being cut. In order to utilize the CNC router, the files were placed into the machine desktop. The sheets were screwed into the router bed to stay secure. The length of each cut took approximately 20 minutes to complete. The plywood sheets were unscrewed and removed from the router bed after they were completed. Lastly, the pieces were taken out from the plywood, sanded and assembled together. The process of cutting with CNC router is a very convenient way to mass produce design ideas. This rapid production technique is becoming more and more productive in the manufacturing industry today. 20

31 CONCLUSION The central perception of the works was based on the pattern and symbols of Persian architecture and calligraphy, which conveyed its cultural heritage. The initial impression derived from form morphology of the Persian history and all the pieces are formatted in this manner. 21

32 BIBLIOGRAPHY Hejazi, M. (2005). Geometry in nature and Persian architecture. Building and Environment, 40(10), Mashayekh, H. (2004). Wisdom in Art: Mathematics in Islamic Architecture in Iran. Lisgar St. Ottawa, Ontario K2P 0C7 Canada, Moosavi, M. S. Interaction of Virtual and Physical Space in Contemporary Life of Iranian Traditional Cities. Saeidian, A. (2012). HEECH:(A Nothing That Is) Sculpted In Poem by Parviz Tanavoli, Iranian Sculpture. LAP LAMBERT Academic Publishing. Tabbaa, Y. (1985). The Muqarnas Dome: Its Origin and Meaning. Muqarnas, Vakili, A., & Boussabaine, A. H. (2006). Quality Concept in Persian Precedent Architecture. PLEA2006, Switzerland. 22