Asymmetry in Persian Symmetrical Art and Architecture

Year: 2006 Authors: Hourieh Mashayekh; Hayedeh Mashayekh

Core claim

Asymmetrical elements in Persian design are deliberately integrated to resolve functional constraints and maintain aesthetic balance.

Topics

symmetry and asymmetry, Iranian architecture, Islamic urban design, composition and harmony

Domains

geometry, spatial symmetry, architecture, urban planning, decorative arts, Islamic art

Methods

case study, visual analysis, historical interpretation

Media

mosques, bazaars, tiling, miniatures

Paper text

The text below is the locally extracted OCR/Markdown version of the paper. Raw PDF files remain local and are not published here.

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Asymmetry in Persian Symmetrical Art and Architecture

Hourieh Mashayekh Architect and Town Planner 906-257 Lisgar St. Ottawa, Ontario K2P 0C7 Canada Email: hourimashayekh@yahoo.ca

Hayedeh Mashayekh Coordinator and Translator 159-Mostofi Ave, Tehran 14347 Iran Email: hayedeh_m@yahoo.com

“Rose petals let us scatter And fill the cup with red wine The firmament let us shatter And come with new design” (Hafez 14th century)

Abstract

Since ancient times, the integration of asymmetry in the design of composition has been a common practice in Iranian art and architecture in order to avoid problems such as topography and winds, and/or to comply with cultural and religious believes. This is manifested in mosques where the Mehrabs are¹ turned to the Qebla² to face in the direction of Mecca; in some entrances of mosques, public bath houses, or houses, in order to provide more privacy for the users; in town planning of large cities, in order to emphasize the old existing Friday mosques, or to avoid the direct access to a castle or governmental building; in the design of staircases, wind catchers, or in water distribution system; and in decorations such as tiling and miniatures.

The Art of Asymmetry in the Core of Symmetrical Art and Architecture

Islamic architecture derives its characteristic from geometrical symmetry (In this article, Islamic art and architecture refers to the work that was created between 800-1600 AD, and does not necessarily refer to religious architecture and related work).

Designers in Iran have been deeply influenced by the long established traditional rules of symmetry. Nevertheless, when the need arose, these same designers did not hesitate to solve some architectural problems by introducing asymmetrical elements to create a new composition that is harmonious in design.

The city of Isfahan which is located in the center of Iran is an outstanding example of harmony between symmetrical and asymmetrical design.

The Maydan-e Naghsh-e- Jahan, an important square in Isfahan with its multifunctional role, is an example of harmonious symmetrical design. As expansion of the square had become necessary, the designers used asymmetrical elements to create a functional design attaching the new buildings to the

1 The Mehrab marks the Quebla,s direction inside the mosques 2 The Qebla is the direction toward Mecca, which is the direction the worshippers face during prayers

Maydan. Masjideh Shah (Shah Mosque), being rotated 45 degree to face the Mecca’s direction, is attached to the Maydan by using this method.

The Bazaar in Isfahan, located near the Maydan, was originally a symmetrical composition both in plan and section. However, as the city grew around it, the new structures intersected the bazaar modifying the existing symmetry. These structures were carefully designed making the transition a smooth one, and the final composition a pleasing design.

Figure 1, AliGhapoo Photographer: Talin Der Georgian, 2000

Figure 2, Masjideh Shah Photographer: Tim Bradley Aga Khan Archive, 1996

Figure 3, Masjideh Sheikh Lotfolah Photographer: Justin Fitzhugh1996

In the end, these amazing asymmetrical details that modified the symmetrical designs not only added to, but preserved, the beauty of the structures.

We wish to thank Hagit Hadaya and Mehdi Nasrin for their comment and assistance.