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Fig. 12.the Exterior View of the Same Museum. Source: Authors’ archive.

Figure 12 the Exterior View of the Same Museum. Source: Authors’ archive.

Related Figures (11)

Fig. 1. Fragments of the head of a two-headed cow discovered in the excavations of Shush by the French board in the late 19th century. Source: Dieulafoy, 1997, 104.
Fig. 1. Fragments of the head of a two-headed cow discovered in the excavations of Shush by the French board in the late 19th century. Source: Dieulafoy, 1997, 104.
Fig. 2. Part of the columns discovered in the same excavations. Source: Dieulafoy, 1997, 104.
Fig. 2. Part of the columns discovered in the same excavations. Source: Dieulafoy, 1997, 104.
Fig. 3. The excavations of Persepolis in 1936. Source: Hojjat, 2015, 154.
Fig. 3. The excavations of Persepolis in 1936. Source: Hojjat, 2015, 154.
Fig. 4. Reza Shah visiting the excavations of Persepolis. Source: Hojjat, 2015, 154. conditions of the heritage building, or in other words, based on the cultural characteristics of the buildingS. Following the success of these projects, other conservation projects were carried out by Iranian experts. Still, the measures taken were mostly to imitate and replicate the methods used by foreign experts. For example, we can mention the implementation of the reinforced concrete ring to strengthen the dome of many Iranian historical monuments; which was an incomplete imitation of the conservation technique of foreign experts in the dome of Soltanieh (Peyrovi, Kabirsaber, PakdelFard & Ferdousi, 2021b, 111).
Fig. 4. Reza Shah visiting the excavations of Persepolis. Source: Hojjat, 2015, 154. conditions of the heritage building, or in other words, based on the cultural characteristics of the buildingS. Following the success of these projects, other conservation projects were carried out by Iranian experts. Still, the measures taken were mostly to imitate and replicate the methods used by foreign experts. For example, we can mention the implementation of the reinforced concrete ring to strengthen the dome of many Iranian historical monuments; which was an incomplete imitation of the conservation technique of foreign experts in the dome of Soltanieh (Peyrovi, Kabirsaber, PakdelFard & Ferdousi, 2021b, 111).
Fig. 5. Show the filature of the AaliQapu Palace of Isfahan in the 60s of the 20th century by the Italian company Izmeu. Source: Zander, 2018, 322.
Fig. 5. Show the filature of the AaliQapu Palace of Isfahan in the 60s of the 20th century by the Italian company Izmeu. Source: Zander, 2018, 322.
Fig. 6. Moving the pillar of Isfahan ChehelSotoun monument to strengthen it, in the same decade and by the same company. Source: Zander, 2018, 322.
Fig. 6. Moving the pillar of Isfahan ChehelSotoun monument to strengthen it, in the same decade and by the same company. Source: Zander, 2018, 322.
Fig. 8. Reconstructions of Varamin Grand Mosque, 1990. Source: Sheibani, 1993, 111. Fig. 7. Superimposing the pieces on the Kangavar Temple, 1988. Source: Mehryar, 1991, 48.
Fig. 8. Reconstructions of Varamin Grand Mosque, 1990. Source: Sheibani, 1993, 111. Fig. 7. Superimposing the pieces on the Kangavar Temple, 1988. Source: Mehryar, 1991, 48.
Fig. 10. The architect’s performance in confrontation with the dominant paradigm at different times. Source: Authors Fig. 9. The evolution of the architectural conservation approach due to the paradigmatic shifts of conservation in Iran. Source: Authors.
Fig. 10. The architect’s performance in confrontation with the dominant paradigm at different times. Source: Authors Fig. 9. The evolution of the architectural conservation approach due to the paradigmatic shifts of conservation in Iran. Source: Authors.
Fig. 11. the Interior Space of the Iron Age Museum, Tabriz, Source: (Authors) and the Exterior View of the Same Museum. Source: Authors’ archive.
Fig. 11. the Interior Space of the Iron Age Museum, Tabriz, Source: (Authors) and the Exterior View of the Same Museum. Source: Authors’ archive.
Fig. 13. Paradigm Developments, the Role of the Architect and the Approach in the Iranian Architecture Conservation. Source: Authors
Fig. 13. Paradigm Developments, the Role of the Architect and the Approach in the Iranian Architecture Conservation. Source: Authors
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