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Modern conservation was formed under the influence of two approaches, ‘stylistic restoration’ and ‘conservation’ as pioneered by Eugène Viollet-le-Duc and John Ruskin, respectively. In Iran, due to the prevalence of both modernity and nationalism at the beginning of the twentieth century, a period of extensive restoration of historic buildings was begun. The aim of this study is to identify the implicit principles of that restoration, and it is argued that it had its own characteristics due to the unfamiliarity in Iran with European approaches to conservation. Case studies were used to provide data for analysis to identify the principles and themes guiding the restoration. These included effecting the ‘perfection or completeness of the architectural work’, ‘decoration and beautification’, ‘harmony’, and restoration that exemplified ‘traditional art’ and ‘traditional proficiency’, all of which indicate a similarity with the characteristics of ‘stylistic restoration’, the purpose of which, according to Viollet-le-Duc, was to reinstate a building in a complete and ideal condition. This approach is interpreted as being in accordance with the prevalence of nationalism both in Europe and Iran, but where modern principles such as readability and minimal intervention were disregarded in the Iranian approach to such restorations.

The Iranian approach to architectural restoration: a style derived from nationalism