On Friday, May 29, guest curator Pantea Haghighi, along with Iranian architect and artist Hossein Amanat, and scholar Jeff Derksen, came together at the Vancouver Art Gallery to discuss their contributions and the historical backgrounds behind the newly released book, Modern Iran and the Avant-Gardes: 1948–78. The talk focused around Amanat’s design of the Shahyad Tower, or the Azadi Tower, which is widely known as the “Gateway Into Iran,” while Derksen dove into his research on the “dynamic dialogue between tradition and modernism.”
The rise of modernism — the 20th century movement in arts that draws focus on experimentation, subjectivity, and abstract expression — was the main topic of concern when discussing Amanat’s designs. He explains how it was his time at the University of Tehran, where he got to hone in on his studies of architecture and art. He shared, “You have to be an artist first,” when working with architecture, as it is the foundation for impactful and important buildings. It was when he was a college student that he was introduced to modern art and environments, while simultaneously taking inspiration from traditional Iranian villages. That was the moment where the interactions between tradition and modernism became some of the biggest influences of his life.
Amanat’s blend of tradition and modernity is the staple for the Shahyad tower. For his love of the former, he discussed how he wanted the material used, which was white marble stone, to be “proper for the period.” He acquired the material from a stone worker who knew virtually nothing of the quarries where the stone was found. Then, every stone had to be hand-carved, which was done by men who mostly had no education. He raised this point to reiterate that the creation of the Shahyad tower was done by the ordinary people of Iran, suggesting that, “it talks of a talent that existed in all layers of Iranian society those days.” Additionally, the stunning ribs that run along the sides of the interior and exterior of the tower create arches reminiscent of Islamic architecture.
Derksen was then asked about his take on how the relationship between tradition and modernity changes the role of Iranian culture. He observed that there was a “continual dialogue that was being set up, continual contestations within artistic, architectural, and poetic communities” and “the students who were forced to study outside of Iran.” It was the case that the relationship between tradition and modernity was altered by culture rather than culture altering between them.
As someone who comes from an Iranian background, it was illuminating to be able to attend this event and learn more about the culture of my homeland.
The move from tradition to modernity through arts and architecture is fascinating, as it shows that art has the ability to change lives and cultures.
Of course, I also found out that this switch was not always perfect, as Amanat explained with the introduction of cars and modern machinery, it became difficult to keep the same traditional beauty of a city, when he was briefly discussing the transformation of Tehran. These new inventions become tools in everyday life, and as Amanat stated, “it helps most of the time, and sometimes it destroys other things.” I found Amanat’s take to be not only true but also identifiable to so many places. That is what makes art revolutionary: when it discusses real-world issues and can speak to anyone at any time in history.
I encourage anyone who is interested in the rich art and culture of Iran to purchase the book Modern Iran and the Avant-Gardes: 1948–78. It not only provides an in-depth knowledge on Iran’s great poetry, art, and architecture, but also gives insight into how they are created and how modernity can change tradition. Additionally, starting from December 11, 2026, an exhibition for Modern Iran and the Avant-Gardes will be on display at the Vancouver Art Gallery. This will be the first exhibition in Canada to explore how Iran embraced modernism.
