The Unknown Treasury Near Tehran

Summary: Morvarid Palace formerly belonging to Shams, the ex-Shah's sister, constructed by Frank Lloyd Wright Foundation is one of Iran's most prominent contemporary architectural monuments. In view of its similarity to two other monuments constructed by Frank Llyod Wright in the United States, a Roman Orthodox Church in Wisconsin and an administrative center in California known as Marin County Civil Center, it has occurred to some foreign engineers and architects that Morvarid Palace in Iran might be one of the monuments constructed by the American architect during his lifetime. Meanwhile, Damavand Higher Educational Institute (the present Payam-e Nour University) and the summer residence of Shams known as Mehrafarin Palace set up over the slopes surrounding Chalous are among the monuments built by Frank Lloyd Wright Foundation.

Text: The development process of the palaces constructed in Tehran and the surrounding as of the outset of the Pahlavi era until the occurence of the Islamic Revolution will be evident at a glance. The most prominent contemporary architects of the time were employed among the Iranian and foreign architects residing Iran to design and construct Marmar Palace in central Tehran, Niavaran and Saadabad Palaces in northern Tehran, and the unique "Morvarid" Palace. These are among Tehran's most outstanding and lasting monuments, which at present mainly serve as public cultural centers.

Morvarid Palace, the resident of Shams Pahlavi - the sister of the ousted Shah - in Mehrshahr, Karaj, seems to be one of the valuable monuments, which has been ignored for various reasons, rather than being preserved and introduced to the public as it deserves.

The palace was constructed at a large site over low-slope hills adjacent to a small artificial lake in a particular style at the order of Shams and her spouse, Mehrdad Pahlbod - the minister of culture and art - less than ten years before the Islamic Revolution. The modern architectural style used in constructing the palace was initiated by Frank LLoyd Wright, the most famous American architect, over the first decades of the last century (1876-1959), which was used by Frank Lloyd Wright Foundation ever since his demise in 1959.

The palace was originally designed by Wesley Peters, who was later assisted by Thomas Casey. Supervising the project in Iran, he and his wife stayed here for many years. One of the most active Iranian engineering consulting companies, having the honor of representing Frank Lloyd Wright Foundation across the Middle East, in view of the company's main figure having the honor of being Wright's student, and who was the architect and contractor of major projects on hospitals, universities, libraries and residential complexes in Tehran and other cities across the country, closely cooperated with the foundation's engineers and decorators in the process of the construction of Morvarid Palace project.

The interesting point about Frank Lloyd Wright's monuments is that two other structures similar to Morvarid Palace exist in the US, which have been designed during the last years of his life and completed after his demise. One is a Greek Orthodox Church in Wisconsin (started in 1956). The other one is a giant administrative complex in California (started 1957) known as `Marin County Civic Center.' The two monuments have made some foreign engineers and architects to think that Morvarid Palace in Iran is most likely one of the monuments erected during Frank Lloyd Wright's lifetime, so that even a limited number of foreigners visit Iran to inspect it as one of the structures of the well known American architect.

Moreover, given that a Post and Telegraph Center was constructed by Wright in another Middle Eastern country (Iraq) in 1958, it contributed to such a belief among foreigners. The diversity of the monument's interior design, its raw materials, decorations, the models and paintings, the spirit of some of the decorative elements and the applied proportions are greatly reminiscent of Wright's monuments.

Frank Lloyd Wright believed that the architect himself/herself is responsible to design and coordinate the architecture, structure and decoration of any monument. Such a coordination and harmony is quite evident in Morvarid Palace. However, since the palace was originally designed for an oriental princess, the interior decorations are selected to suit the Iranian taste. Models realizing the concept of "Door" and "Sun" are frequently applied, while most of the paintings and designs observed in the furniture, chandeliers and lights (installed on the walls and suspending from the ceilings) are full of circular designs. As a matter of fact, such a one-piece coordination is quite charming, yet scarce. Even the floors and the lighting of the surrounding space of the palace are marked by a similar harmony. The frequent application of "Plexiglass" - an expensive light-resistant unbreakable material - in various forms and sizes for the first time is one of the features of the interior decoration of Morvarid Palace. Besides the application of glass and crystal adjacent to the rough concrete has created appealing perspectives.

Unlike other palaces of the Pahlavi era, traditional Iranian carpets and classical tableaux are absent in Morvarid Palace. Live, shining and spirited designs and colors of the floor mats, walls and the furniture constantly dazzle the viewer's eye. Nothing is left undecorated and one might hardly come by any wall designed with the hope of being decorated by a painting later on.

Offices, ceremonial chambers, the family living room, dining room and consecutive bedrooms are located around the central space of the palace and they might be entered through a sloped corridor. In general, given that the structure of the palace has been erected on numerous levels and free design - without the usual concerns - and accessible from different directions through ramps and staircases, the concept of `story' has almost lost its meaning. This very same feature contributes to making the modern monument quite distinct and unique. Nowhere across the monument one might come across any space encircled in a normal cross-section of four walls.

The diversity of the erected spaces and the internal connecting channels are marked by a particular boldness and creativity. A free inspection of the different angles of the palace from all perspectives - if allowed - will cause the visitors to praise what they witness. To summarize, the diversity observed in the forms, spaces, colors and materials make the palace quite distinct from the nation's contemporary monuments.

The need to introduce the architecture and art of the period under question, away from any hue and cry, seems to be unavoidable. Considering the fame and history of the mighty artistic complex, undoubtedly calls for the requirement to protect, restore and make optimum use of it.

The collapse of the concrete structure of Morvarid Palace from inside, in view of the water leakage from the ceiling, despite breaking out gradually ever since the palace was constructed, ends up in major catastrophic erosion. The ignorance of the problem for almost three decades makes the restoration more complicated almost by one hundred percent.

According to the regulations of Iran's Cultural Heritage Organization, if the other elements effective in determining the values of the monument are overshadowed by its being young, a great number of other valuable monuments might be readily lost as well.

Among hundreds of the contemporary monuments, one might refer to that of the former "Damavand Higher Education Institute" (Payam-e Nour University) in Tehran and "Mehrafarin Palace", the summer residence of Shams, located on the hills surrounding Chalous currently belonging to the Police. Both monuments were designed and erected by prominent Iranian and American engineers from Frank Lloyd Wright Foundation, who are unfortunately unknown in Iran. Meanwhile, they have been widely introduced to the public in the world outstanding cultural and artistic magazines.

When the palace and its interior decoration are restored and repaired, it can undoubtedly be used as one of the nation's most valuable contemporary architectural and artistic treasures. Then it will not only be open to the public, but in particular architects, interior designers, decorators and civil engineers will be welcomed to inspect it closely.

In view of the palace's large surrounding area covered by plants and greenery and its adjacent lake suitable for boating it has been used as a recreation center by the students of most schools. Meanwhile, the resistance wing of Basij militia, which took over the monument several years ago, once the Islamic Revolution's Mostazafan Foundation left it, has provided recreational facilities for the visiting students in the courtyard of Morvarid Palace.

Attempts to restore such unique modern monuments are of equal significance and honor as the frequent monuments of Qajar era observed across Tehran. Since from ancient times, the first say in evaluating the values has always been voiced by the pioneers, it is evident that new designs and initiatives have always been of primary importance. We should not, however, fear that our having realized the great value of modernism might be revealed to non-Iranians.

Introduction of such monuments along with historical palaces, domiciles and caravansaries to the tourists visiting Tehran and its outskirts, will acquaint them with new ideas quite unlikely to be associated with Tehran and Iran from the global point of view. Besides praiseworthy realities about Iran, which might scarcely ever come by in any book, will be enlightened. The monument of Morvarid Palace might even be considered as a memorial.