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: http://ir.uiowa.edu/etd/2003
Recommended Citation
Rashti, Sogol. "Persian in practice." MA (Master of Arts) thesis, University of Iowa, 2015.
http://ir.uiowa.edu/etd/2003.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Art Practice Commons
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
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
____________________________
MASTER'S THESIS
_________________
This is to certify that the Master's thesis of
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
To all the creatures that I have love for …
ii
"If you can design one thing, you can design everything”
Massimo Vignelli
iii
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
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
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
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 ...................................................................................... 10
CHAPTER II. DESIGN............................................................................................................................ 11
Design Technique ............................................................................................................................. 11
Alphabetical Chair ............................................................................................................................ 11
Tabs and Curves (the light) ............................................................................................................. 14
Triangular Set ................................................................................................................................... 16
CHAPTER III. PRODUCTION .............................................................................................................. 20
CONCLUSION ........................................................................................................................................ 21
BIBLIOGRAPHY ..................................................................................................................................... 22
vii
LIST OF FIGURES
Figure 1: Geometric Patterns.................................................................................................................... 2
Figure 2: Geometric Patterns.................................................................................................................... 3
Figure 3: Jameh Mosque in Yazd, Iran. .................................................................................................... 4
Figure 4: One Form of the Heech Series. ................................................................................................ 6
Figure 5: “Two-eyed” Written Figure. ..................................................................................................... 7
Figure 6: Heech Tablet. .............................................................................................................................. 8
Figure 7 : Poet Turning Into Heech. ........................................................................................................ 9
Figure 8: Alphabetical Chair .................................................................................................................... 12
Figure 9: Alphabetical Chair. ................................................................................................................... 13
Figure 10: Alphabetical Chair .................................................................................................................. 13
Figure 11: Lamp Shade Details ............................................................................................................... 14
Figure 12: The Lampshade ...................................................................................................................... 15
Figure 13: The Coffee Table .................................................................................................................... 17
Figure 14: Stackable Stool ....................................................................................................................... 17
Figure 15: Stackable Stool ....................................................................................................................... 18
Figure 16: The Coat Hanger .................................................................................................................... 19
Figure 17: The Coat Hanger .................................................................................................................... 19
Figure 18: The Triangular Set. ................................................................................................................. 19
viii
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
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
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
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
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 1960. 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 (‫ )هیچ‬is 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 1964-65, 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
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
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
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 1973. 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
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
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
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 " ‫ "هـ‬in 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
H- ‫ هـ‬shaped the body of the seat in a graceful manner. The purpose was to repeat the " ‫"هـ‬
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 10.
11
Figure 8: Alphabetical Chair.
12
Figure 9: Alphabetical Chair.
Figure 10: Alphabetical Chair.
13
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
Figure 12: The Lampshade.
15
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 13.
16
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
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 17.
18
Figure 16: The Coat Hanger.
Figure 17: The Coat Hanger.
Figure 18: The Triangular Set.
19
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
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
BIBLIOGRAPHY
Hejazi, M. (2005). Geometry in nature and Persian architecture. Building and
Environment, 40(10), 1413-1427.
Mashayekh, H. (2004). Wisdom in Art: Mathematics in Islamic Architecture in Iran. Lisgar St.
Ottawa, Ontario K2P 0C7 Canada, 906-257.
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, 61-74.
Vakili, A., & Boussabaine, A. H. (2006). Quality Concept in Persian Precedent
Architecture. PLEA2006, Switzerland.
22