Ph.D. (Doctor of Philosophy) in Architecture - Kent School of Architecture & Planning - University of Kent, Canterbury, U.K., 2019
A comprehensive study of art, architecture, and the built environment requires an interdisciplinary approach that incorporates knowledge and insights from fields such as sociology, anthropology, history, and philosophy. By adopting a holistic perspective, one can gain a deeper understanding of the cultural, social, and political contexts that shape architecture and art. This approach recognizes that architecture and art are not just about individual expression, but also about the communities that inhabit and utilize the built environment, and the impact it has on our environment and society at large. A holistic approach requires an understanding of the needs and desires of the communities that use the built environment, and the importance of creating spaces that are sustainable, inclusive, and responsive to those needs. To fully comprehend the evolution of the built environment, it is crucial to study it within a historical context, taking into account the social, economic, and political factors that influenced its development. By examining architecture and art through a holistic lens, we can create more meaningful and impactful designs that reflect the needs and aspirations of our communities and help us tackle the challenges of our time, such as climate change and resource depletion.
In western literature, Persian colored glass panels (Shisheh-Alvaan & Mushabbak) and Orsi or sash windows and their periodically significant role in the traditional architecture of Iran as cultural, environmental and climatic elements of architecture, is missing. Unlike classical western architecture, where stained glass is highly embellished within a Christian context, it served a greater purpose in Iranian architecture that is rarely explored. Today, little is known about the techniques used by craftsmen in Iran to construct exquisite colored glass windows and panels. The origin of Orsi remains unknown, and substantial research in the area of colored glass windows in Iran is lacking.
Under the supervision of Dr. Henrik Schoenefeldt this research was conducted at the University of Kent - a public research university based in the city of Canterbury, United Kingdom - between 2014 and 2019. My research became possible through examination of original and primary archival manuscripts and contemporary literature, conducting site surveys, interviews, and the use of computer software such as Google-Earth and GIS; it also required me to travel extensively in order to visit some of the most notable collections of ancient artifacts – glass and ceramics in particular – in Europe, Africa and the Middle East. Living in the U.K. for almost a decade also gave me the opportunity to have an in-depth exploration of Persian, Turkish, Indian, and European artifacts at the British Museum and Victoria and Albert Museum in London. My work was supported by several notable art curators and historians including Ms. Sheila R. Canby, the Metropolitan Museum of Art, Ms. Ursula Sims-Williams at the British Library in London, and Dr. Sussan Babaie, at the Courtauld Institute of Art in London. Several grants from the Iran Society, the British Institute of Persian Studies, and the University of Kent, each of which required acceptance of a grant proposal funded this research. The final dissertation was awarded the degree of doctor of philosophy in 2019.
In western literature, Persian colored glass panels (Shisheh-Alvaan & Mushabbak) and Orsi or sash windows and their periodically significant role in the traditional architecture of Iran as cultural, environmental and climatic elements of architecture, is missing. Unlike classical western architecture, where stained glass is highly embellished within a Christian context, it served a greater purpose in Iranian architecture that is rarely explored. Today, little is known about the techniques used by craftsmen in Iran to construct exquisite colored glass windows and panels. The origin of Orsi remains unknown, and substantial research in the area of colored glass windows in Iran is lacking.
Under the supervision of Dr. Henrik Schoenefeldt this research was conducted at the University of Kent - a public research university based in the city of Canterbury, United Kingdom - between 2014 and 2019. My research became possible through examination of original and primary archival manuscripts and contemporary literature, conducting site surveys, interviews, and the use of computer software such as Google-Earth and GIS; it also required me to travel extensively in order to visit some of the most notable collections of ancient artifacts – glass and ceramics in particular – in Europe, Africa and the Middle East. Living in the U.K. for almost a decade also gave me the opportunity to have an in-depth exploration of Persian, Turkish, Indian, and European artifacts at the British Museum and Victoria and Albert Museum in London. My work was supported by several notable art curators and historians including Ms. Sheila R. Canby, the Metropolitan Museum of Art, Ms. Ursula Sims-Williams at the British Library in London, and Dr. Sussan Babaie, at the Courtauld Institute of Art in London. Several grants from the Iran Society, the British Institute of Persian Studies, and the University of Kent, each of which required acceptance of a grant proposal funded this research. The final dissertation was awarded the degree of doctor of philosophy in 2019.
