Hashti, in most traditional houses in Iran, is a octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service.
Hashti Tehran is a film and discursive project initiated by filmmaker Daniel Kötter in collaboration with environmentalist Shadnaz Azizi, architect and urban designer Kaveh Rashidzadeh, urban planner Pouya Sepehr and sociologist Amir Tehrani.
Photobook / Hedieh Ahmadi / 15 x 21 cm (27 x 21 cm poster size) / 80 Pages / 300 copies / 2017
Works of Parviz Tanavoli – 6 / Design Iman Rad / 21 x 21 cm / 120 pages / Bilingual / First Edition 2015
Anatoly Lunacharsky / Translated and Edited by Daria Kirsanova / 13 x 17 cm / 90 pages / English / First Edition, February 2014
Poem Maryam Palizban / Design Homa Delvaray / 15 x 21 cm / 94 Pages / Farsi / First Edition 2012
Works of Parviz Tanavoli – 5 / Design Iman Rad / 21 x 21 cm / 96 pages / Bilingual / First Edition 2012
Works of Parviz Tanavoli – 4 / Design Iman Rad / 21 x 21 cm / 120 pages / Bilingual / First Edition 2011
In my opinion the weavers of the pictorial rugs were well aware of the principles of the traditional rugs: they also knew that any strange, nontraditional elements first needed to be adapted for their rugs. They cleverly treated the human figure within the format of a traditional rug design. Whether these figures were based on an oil painting or a photograph, they all had first to be “purified.” The process of this purification included getting rid of the three-dimensionality created in paintings or photographs by shading, and they did this by the use of flat colors (without shading), geometricizing the forms in accordance with the rest of the rug designs, and incorporating some of their traditional motifs on the figures. In their overall compositions, too, they seldom neglected traditions, and always used borders and treated the figure as a central medallion, as much as possible.
Works of Parviz Tanavoli – 3 / Design Iman Rad / 21 x 21 cm / 120 pages / Bilingual / First Edition 2011
Heech came to Parviz Tanavoli in the quiet of his Atelier Kaboud in south Tehran in 1964. In its first manifestation, Tanavoli painted the word heech in yellow oil paint onto a mixed-media piece that was exhibited at the Borghese Gallery in Tehran. The Persian word for nothingness was Tanavoli’s protest against the two major trends that had taken over the Iranian contemporary art scene—works that he felt mimicked “new artistic phenomenon from the West” and were readily bought up by aristocratic art collectors and the fetishization of the calligraphic notation by a growing number of Saqqakhaneh artists.
Works of Parviz Tanavoli – 2 / Design Iman Rad / 21 x 21 cm / 120 Pages / Bilingual / First Edition 2010 (out of stock)
Sculptures of Mohammad-Hossein EMAD / 17 x 24 cm / 88 Pages / Bilingual / First edition 2009 (out of stock)
Works of Parviz Tanavoli – 1 / 21 x 21 cm / 96 pages / Bilingual / First Edition 2008
I do not know whether or not it’s correct to refer to the works in this book as jewelry. Perhaps it would be preferable to use another word for them, since in the traditional culture of Iran the term “jewelry” usually designates a combination of precious stones and gold, and such pieces are usually elaborate and delicate. Yet, what in this book is called jewelry concerns tiny sculptures made of silver and they bear little relationship to conventional jewelry — except for their use as ring, bracelet, and necklace.
Works of Avish Khebrehzadeh / 17 x 24 cm / 144 Pages / Bilingual / First Edition 2007
Khebrehzadeh’s work extends to drawings, paintings and animation. “Drawings are a continuation of the animation,” she notes, “with animation I’m able to explain more of the past, present and future. The drawing is a moment both static and eternal the animation represents real time.”
Kohl Containers of Iran / Parviz Tanavoli / 21 x 21 cm / 84 pages / Bilingual / First Edition 2007 (out of stock)
More than two thousand four hundred years have passed since Xenophon first recorded the thoughts of Cyrus II “the Great” on the eyeliner and mascara preparation kohl (an Arabic word; in Persian, sormeh). Throughout this period, and for at least a thousand years before it, sormeh was greatly prized by Iranians, and they created beautiful containers to hold it because of its medical and cosmetic properties. These containers, known as “sormehdan”, are an Iranian art form that dates back more than three millennia, but, aside from a few exceptional examples, they remain little known.
Parviz Tanavoli / 21 x 21 cm / 72 pages / Farsi / First Edition 2005 (out of stock)
Mahmoud Bakhshi / 21 x 21 cm / 36 pages / Bilingual / First Edition 2005