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REHAB 2017

Proceedings of the 3rd International Conference on Preservation, Maintenance and Rehabilitation of Historical Buildings and Structures Braga, Portugal 14-16 June

Edited by Rogério Amoêda Sérgio Lira Cristina Pinheiro


REHAB 2017 Proceedings of the 3rd International Conference on Preservation, Maintenance and Rehabilitation of Historical Buildings and Structures

Edited by Rogério Amoêda, Sérgio Lira & Cristina Pinheiro

2017 The Editors and the Authors All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior written permission from the Publisher.

ISBN 978-989-8734-24-2 eISBN 978-989-8734-23-5 Published by Green Lines Instituto para o Desenvolvimento Sustentável Green Lines Institute for Sustainable Development Av. Alcaides de Faria, 377 S.12 4750-106 Barcelos, Portugal [email protected] http://greenlines-institute.org 1st edition, June 2017

Published in electronic format. Print on demand

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Chapter 4: Preservation and rehabilitation of historic centres

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A cultural evaluation of the contemporary experiences of urban space regeneration in historic cities of Iran E. Ranjbar & S. Afsari Bajestani TarbiatModares University, Tehran, Iran

ABSTRACT: A brief review of contemporary urban regeneration literature reveals different approaches in which culture led regeneration has a substantial compatibility to the situation of historic cities of Iran. This article tries to have an analysis on contemporary experiences of urban regeneration in historic cities of Iran in which urban spaces and culture are key factors. As a research method four case studies of urban spaces regeneration in different cities of Iran have been selected. Some results demonstrate successful experiences of Isfahan because of new generation of urban culture in relation to nightlife and also in Gorgan because of flexible use of squares as places for religious ceremonies. As unsuccessful experiences, in Busherhrthe new plans have changed a historical square with cultural ceremony function to a playground. Also in the historic center of Shiraz for new development of The Holly Shrine a huge amount of public spaces has been demolished.

1 INTRODUCTION Issues such as physical, functional, as well as social inefficiency and deterioration of urban centers have increasingly attracted the attention of urban planners and developers who seek dynamicization and revitalization of urban fabric. As a major contemporary approach to the issue of urban restoration, urban regeneration has aimed since the 1990s at an integrated revitalization of civil life as well as consistent social development in urban centers (Lotfi, 2011; Robertz, 2000). One type of such regeneration is culture-led regeneration. In this approach, urban regeneration is based on historical continuity and cultural heritage with the assumption that conservation and cultural aspects of development are important factors in the economic efficiency of urban spaces, economic flourishing of places, and sustainable permanence of the process of regeneration (Lotfi, 2011). Culture-led regeneration was first adopted with the aim of overcoming the socio-economic problems of run-down urban centers through a service-oriented economic system particularly in North American as well as European countries. This trend is now moving in the direction of cultural investment and increased connection with local communities in order to improve the life of the inhabitants (Lin &Hsing, 2009; Evans, 2005). In addition to encouraging economic diversity, culture-led regeneration also helps to improve the image of deteriorated places, thereby increasing the competitive strength of urban areas (McCarthy, 2002). In the context of its rich history of civilization, Iran has gained considerable experience of regeneration of urban centers over the last two decades. Iran's Urban Renewal and Development


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REHAB 2017 R. Amoêda, S. Lira & C. Pinheiro (eds.)

Act 1995 paved the way for large-scale initiatives on renewal and maintenance of the historic fabric Iranian cities including Isfahan, Yazd, Shiraz, Kerman, and Kashan (Hanachi et al., 2007). Some of these experiences have been spectacular examples of culture-led regeneration due to a strong focus on historical and cultural values whereas in others, in spite of the historical significance of the fabric, there are signs of negligence in addressing historical and cultural potentials. Cultural planning in Iranian historic cities has been an example of the most immediate measures concerning culture-led regeneration. The longstanding continuity of Iranian history is solid basis on which to implement a culture-led regeneration approach in the process of urban regeneration. This approach is probably the most effective approach in the context of Iranian historic cities(AfsariBajestani, 2017). This is why we need to overview and evaluate Iran's experience of revitalization of historic urban fabric by means of a cultural approach. With the above premises in mind, the present paper seeks to analyze several prominent cases from Iranian cities in order to develop a number of basic principles for culture-led regeneration in both contemporary and future urban planning initiatives in Iran. 2 LITERATURE REVIEW Urban regeneration should be considered as the mainstream approach to urban renovation and conservation in our time. As evidenced by recent experiences, this approach focuses on a number of major strategies. One of the strategies is to emphasize civil life, consistent social development, and eliminating social ruptures. An "integrative and interactive" view of urban regeneration, therefore, avoids superficial and temporary solutions to the problems of urban renovation and conservation (Lotfi, 2011). According to Robertz (2000), urban regeneration puts emphasis on comprehensive policies to avoid substitution of inner regions, widespread renewals, as well as large-scale redevelopment plans and aims at involving all beneficiaries and authorities to enable physical conservation of architectural heritage in an urban area. Singhal (2009) recognizes five major types of urban regeneration, namely, retail-led, property-led, entertainment-led, culture-led, and event-led. Culture-led regeneration evolved in a post-industrial context as a result of the transformation of the role of culture and the central role it achieved in economic progress. Centrality of culture and adoption of cultural strategies took place for the first time in the United States in the 1970s and was then followed by Britain as a lead in development (Bianchini, 1993; Smith, 2012). Cities like London, Birmingham, Glasgow, and New Castle came to substitute mere art with culture in the process of urban policy-making and, at the same time, attempted to reduce the politicization of cultural issues (Bassett, 1993; Bianchini, 1993). Institutions such as DETR1, ODPM2, DCLG3, DCMS4, and ACE5 formulated numerous documents and manifests related to policy-making in the field of culture-led regeneration. In fact, culture has become an important aspect of policy-making over recent decades. There is a broad consensus that no other standard approach to urban planning has been able to keep up with the progress of cultural approaches. Creation of urban identity, involvement of local communities, and attraction of resources and talents are challenges which appear to be unresolvable by traditional strategies and which can be best dealt with by more reliable cultural approaches at the level of both conceptualization and policy-making (Blessi, 2012). In general, it can be said that culture-led regeneration builds upon culture to overcome socio-economic problems of deteriorated and inefficient urban areas. Many contemporary thinkers have defined the role of culture in urban regeneration. More specifically, the central role of the strategies of cultural regeneration in the field of competition as well as in creating a new image for the city has been widely discussed (Doucet, 2007; Keating & Frantz, 2004; Northall, 2008; Miles &Paddison, 2005; Jones & Evans, 2008; Blessi, 2012; Ulldemolins, 2014). Other scholars have elaborated on the issue in terms revitalization of urban identity (McCarthy, 2006; Middleton & Freestone, 2008; Bailey et al., 2004) as well as tourism and leisure economy (Andres, 2011; Keating & Frantz, 2004). Based on these views, different strategies have been proposed for implementation of cultureled regeneration in different places and on different scales. Bassett (1993) believes that these strategies evolve over time and increasingly cover more and more activities, but they generally include construction of artistic institutions (e.g. theaters and cinemas), support of local and ethnic minority cultures, development of infrastructure for cultural production, cultural policy-



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making, organization of events and festivals, and general application of art to the society. Vickery (2007) proposes four major categories of culture-led regeneration which include flagship cultural facilities such as signature style architecture or a new cultural institution, landmark sculptures or public art schemes, innovative structural engineering, and unique performances, events, or festivals. These categories were particularly effective in the transformation of urban landscape in Britain in the 1990s. Waterfront redevelopment and reusing historic buildings are other strategies for culture-led regeneration of deteriorated spaces. According to Jones & Evans (2008), Albert Dock is a good example of reusing historic buildings to create a special character for the space. Another such strategy is physical definition of flagship cultural landmarks such as cultural anchors and signature buildings. An international example of a classic use of flagship buildings as a stimulus for regeneration is Guggenheim Museum which was designed by Frank Gehry in the industrial and deteriorating city of Bilbao in northern Spain and was inaugurated in 1997 (Jones & Evans, 2008). Some experts, however, believe that flagship cultural projects are not necessarily beneficial since they may produce aggravating effects in the long term and the dominance of such large-scale projects over the central fabric of a city may overshadow the cultural and economic contradictions of local cultural notions (Lin &Hsing, 2009; Zukin, 1995). In addition, small-scale events like local festivals and ceremonies as well as large-scale events like international sport competitions can also contribute to culture-led regeneration. In general, events are characterized by the fact that they are temporary and unique. Events are usually planned for a short period of time and result in a cultural change. Small-scale events are particularly interesting because they represent a positive and pleasant image of the city. Moreover, if an event is repeated every year in a regular time, it may be used as a means of attracting public attention (Riza, 2015). In this regard, small-scale events can contribute to the success of regeneration projects as a result of connecting with cultural and meaningful characteristics of place. Nevertheless, it seems that some scholars have gradually come to criticize large-scale events. For example, Zhang& Zhao (2008) (cited from Riza, 2015) investigated how in Beijing Olympics local culture and identity were downplayed by eliminating traditional neighborhoods and flagship buildings were constructed on the existing fabric. To sum up, it can be concluded that the recent trend of culture-led regeneration has been a practical solution to the current problems of urban fabric, not least historic urban fabric. This type of regeneration revolves around improvement and development of the unique features of place including historical and cultural values. Among the most important target strategies in culture-led regeneration are promotion of cultural and artistic activities and uses in different places, reuse of historic buildings, organization of small-scale and large-scale events, support of local minority cultures, construction of cultural flagship buildings, improvement of the general qualities of place by redevelopment of abandoned places, and making use of public and creative art. 3 METHODS

3.1 Conceptual framework In the previous section, we reviewed the literature on regeneration, culture-led regeneration, and the developed strategies in order to study the role of culture in urban regeneration. The strategies fall into five major categories which consist of leisure activities, cultural and artistic activities, physical measures, spatial improvement, and events. In addition to contributing to culture-led regeneration, each of these strategies may positively influence the development of the qualities of place and urban space. As Wansborough&Mageean (2000) put it, "culture is a vital component of the urban public realm as its spaces, streets and squares all help to create the identity of a city". These strategies, therefore, have a direct effect on urban environment.


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Figure 1. Culture led regeneration strategies

3.2 Case studies For our purpose, four experiences of regeneration in Iran were selected to be included in the present study. The analysis of these experiences was mainly performed through content analysis which consisted of, on the one hand, qualitative analysis of texts and descriptive techniques and, on the other hand, field observations. These four cases of renewal have all been major experiences of regeneration in Iran over recent decades, each case having rich and unique cultural and historical circumstances. Jolfa district in Isfahan which dates back to the Safavid period (16th and 17th centuries) is socially and culturally distinct from its surrounding context and is inhabited by an Armenian minority. The second case is the historic fabric of Gorgan, which is the only surviving fabric of historical significance in the coastal stripe of the Caspian Sea in Iran, is a combination of historic buildings, passages, public spaces, and different elements of urban life with a total area of 150 hectares. This fabric was the first urban fabric to be registered eight decades ago as a national site in Iran. Although not protected as it deserves, being recognized as a national site has brought about a special significance for this urban area. The third case is Bushehr, a port on the Iranian coast of Persian Gulf, which started to flourish as an urban area 200 years ago. The historic fabric of Bushehr lies in the commercial center of the city. Finally, the fourth case is the historic city of Shiraz. The history of Shiraz goes back to the pre-Islamic era of Iran, i.e. more than 1400 years ago. An important change in the central part of Shiraz over the last two decades has been the expansion of the Shrine of Shah-e Cheragh. A comparative analysis of these four cities will be used to investigate the role of culture in urban regeneration as well as how principles and strategies of culture-led regeneration should be implemented.



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Figure 2. Location of the four cities.

4 ANALYSIS

4.1 Jolfa district in Isfahan Lying to south of Zayanderud in Isfahan, Jolfa district was founded between 1603 and 1605 during the rule of the Safavids. A turning point in the history of Jolfa occurred in 1655 when, under Shah Abbas' rule, about 12,000 Armenians were driven from the northern regions of Zayanderud to live in the southern region of Jolfa. In spite of the ups and downs of the life of Armenians in this neighborhood, the culture and identity of the inhabitants has remained rich and interesting until today. View of churches, historic houses, and cultural axes are physical realizations of the central role of culture in Jolfa which distinguish it from its surrounding fabric (Noufel et al., 2009). This invaluable physical and cultural environment resulted in serious consideration of revitalizing Jolfa as a historic, cultural, and tourist district. The Development and Renewal Organization of the Municipality of Isfahan determined the main structure of the district as a historic and cultural axis and, in 2008, began restoration procedures in order to develop this axis into a pedestrian area (Kargar&Ghara-baglou, 2015). The measures taken for revitalization of this axis include (Hanachi et al., 2007, p. 55): Enthusiastic participation of local inhabitants


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Preservation of the surviving values Revival of the social identity of the neighborhood Promotion of tourism Focus on educational, cultural, and accommodational elements Revival of historic parts and passages Introduction of new uses matching the spirit of the neighborhood Renovation of the fabric Focus on pedestrians Providing appropriate spaces for tourists Improvement of urban infrastructure Identification of individual historic monuments Establishment of the College of Arts, the Association of Cinematographers, the School of Visual Arts, accommodation complexes, exhibitions, and restaurants. A glance at the above objectives indicates that the Municipality of Isfahan performed the regeneration of this historic district by combining different uses and considering the requirements of inhabitation, leisure time, and tourism. Figure 3 shows the location Jolfa, its main structure, as well as a number of prominent physical elements such as churches and Armenian and French schools. As flagship urban landmarks, old houses and beautiful churches are components of the subjective identity of the inhabitants. The urban spaces of the neighborhood have adequate cohesion due to the interlaying nodes and spaces such as small squares and public spaces. Furthermore, five passages in the district, namely the axis of Vank Cathedral, Khaghani axis, Shekarchiyan axis, Sangtarash-ha axis, and the green axis on the margin, were reconstructed as pedestrian streets. In general, the district has become more legible due to physical and visual landmarks, pedestrian passages, and functional nodes.

Figure 3. Historical and cultural elements of Jolfa.

As Jolfa hosts a number of special cultural events such as Christmas celebration and other Armenian ceremonies and priests usually attend urban spaces in their robes, this neighborhood is regarded as different from its surroundings. It seems, however, that there is yet no comprehensive policy to create new events, preserve the neglected heritage of Armenians, and



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reinforce the Armenians' social gatherings, which may downgrade the cultural and social status of the neighborhood in public opinion. Creative reuse of historic elements with great potentials was central to the regeneration of Jolfa. For instance, the establishment of the buildings of the faculty of arts of Isfahan University within the historic sites of David &Soukiazians' House, the French School, Martha Peter's House, Stepanian's House, Ayyoubi's House, Khachekian's House, and Haratian's House is a good example of reusing historical buildings. Definition of recreational and leisure-time activities within historic houses is another instance of using these potentials. Introduction of these activities as well as small-scale commercial uses improve the liveliness of Jolfa, especially when it comes to night life. This has also helped to promote tourism in the district. During the day, shopping and visiting commercial buildings is more common while in the evening the public activities focus on restaurants and cafés, thereby inviting more people to attend this neighborhood. Incorporation of cafés and restaurants into old houses, preservation of traditional and friendly atmospheres, and definition of sitting areas in front of cafés, i.e. what Oldenburg (1982) calls 'third places', has played an important role in the success of these places (cited in Kargar&Ghara-baglou, 2015).

Figure 4. Leisure uses such as cafés and restaurants.

4.2 Historic district of Gorgan What is now known as the historic district of Gorgan has been formed in an organic and endogenous manner throughout centuries (Behzadfar&Rezvani, 2015). Originality of this historic fabric, its internal cohesion from the past until today, and the existence of invaluable monuments and buildings have resulted in the fact that this area is considered by urban policymakers and planners in almost all comprehensive plans of development. Cultural space in the historic district of Gorgan has a total area of 4,400 square meters. This space is made up of libraries, schools, mosques, historical monuments, and cultural associations. A major physical characteristic of this district is the existence of neighborhood centers. Neighborhood centers are usually the religious associations that provide the inhabitants with a takieh6 where people can gather in mourning rituals such as Muharram7. As prominent elements in the fabric of Gorgan, Takiehs are religious centers and open urban spaces that play an important role in the gathering of the inhabitants of a neighborhood. Because takieh is an open public space, it is distinguished from similar places with the same name in other Islamic countries and acts as an indicator of Iranian identity. Many travellers who visited Iran, especially in the Safavid period and later on, have mentioned ceremonies being held in open spaces such as great squares and takiehs (Aminzadeh, 1999). In addition to their religious function, they also act as commercial centers in other times of the year. Given this, takiehs can


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be taken as important commercial, cultural, and educational centers (Khoodavand Consultant Engineers, 2010). In line with this assumption, Iran's Urban Development and Revitalization Corporation has started a project called "from Muharram to Muharram" to organize takiehs in Gorgan. This project is part of the urban regeneration initiative that began in 2015 to revitalize historic buildings and takiehs in the center of four historic neighborhoods, namely, Sarcheshmeh, Doshambe'i, Darbeno, and Sabzeh-Mashhad. The following figure shows the location of takiehs in the center of historic neighborhoods in Gorgan.

Figure 5. Position of takiehsas public urban spaces

Also, in addition to conservation and restoration of takiehs, renovation of individual buildings and monuments of historical significance which are registered by the Organization of Cultural Heritage have helped to improve the fabric. An example in this regard is the renovation of the historic Bagheri House and the historic Taghavi House. Moreover, as approved by the City Council, the Municipality should every year buy a historic monument for renovation and conservation. Another measure in regeneration of the fabric is to define new activities to be performed in historic houses. Of course, this has been done only for a limited number of historic houses. An instance of the determination of new uses for these houses is cultural and artistic center, as in the case of Lotfi House which was registered with number 2391 in the list of Iranian national sites in 1999 and now hosts Gorgan's Museum of Handicrafts. The Organization of Cultural Heritage and Tourism of Gorganis located in Shirangi House in Sarcheshmeh neighborhood. Also, another part of this organization is located in the precious building of Taghavi School. Therefore, some organizations related to history and architecture are located in historical houses.



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Figure 6. One of the preserved historic buildings in the old fabric of Gorgan.

The Municipality of Gorgan has committed itself to revitalizing significant historical passages of the old fabric of Gorgan. This project started in 2016 in Pasarv neighborhood and is still running. Pasarv is a historical passage with many beautiful takiehs that are host to mourning ceremonies in Muharram. By observing old photographs and analyzing existing information about takiehs, the façades were designed and necessary measures for making walls and pavement as well as lighting were taken. Another measure in regeneration of the historic fabric of Gorgan has been to create events. In order to publicize and reinforce the culture of the region of Estarabad, different traditional programs such as Nowruz-khani and Chaharshanbesuri were held by the Office of Revitalization and Development of the Historical Fabric of Gorgan in historic houses. Another event was the closing ceremony of a photography contest called "Sense of Life in the historic fabric of Gorgan" in Kabir House which was held to celebrate the international day of monuments and sites. Other events include celebration of the historic fabric of Gorgan by a walking contest for authorities, experts, as well as those interested in the cultural heritage of Gorgan. Finally, traditional ceremonies like Toghbandan, Pamanbari, and Chehelmanbar on different days of the year contribute to the liveliness of local life and shape the identity of the urban fabric.

Figure 7.Toghbandan ceremony in Gorgan.


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4.3 Kuti Square in Old Bushehr The historic fabric of Bushehr dates back to its flourishing period during the Qajar period (18th and 19th centuries). It consists of four major neighborhoods, namely, Kuti, Behbahani, Shanbadi, and Dehdashti, which have retained their identity. The main urban space in these neighborhoods includes mosques and their adjacent squares that are used for religious ceremonies in certain times of the year (Ranjbar, et al., 2012). Physical and functional deterioration of a major part of this fabric has limited its use to certain ritual ceremonies. Over recent decades, several projects such as the historical axis of Kuti, renovation of Dehdashti House as a cultural center, and reuse of historic houses as schools of architecture in Kuti have led to the flourishing of the historical fabric of Bushehr. In spite of the strong background of cultural and religious ceremonies in Bushehr, the renovation project of Kuti followed a totally different path. Kuti square that was large enough to host the ritual of Ta'zieh8 has now turned into a football pitch. This has negatively affected the ritual of Ta'zieh which was once one of the most important factors of social activity in the neighborhood. 4.4 Historic Area of Shiraz Shiraz is an important city in southern Iran with a long history of urban change. Shiraz is wellknown for its literature and culture on a national and international level, due to which it was nominated for UNESCO's Creative City of Literature. From the 12th century CE onward, changes in the historical center of Shiraz have been revolving around two religious shrines. The development pattern of these two shrines was formerly a combination of squares and bazaars. In the 20th century, a large courtyard was planned for mass rituals and ceremonies. This courtyard resulted in a type of urban square that has so far heavily influenced the urban space of Shiraz. Over the recent decade, however, the development plan of the shrines has unfortunately caused destruction of the historic fabric as well as a large number of historic houses. In the most recent part of the plan, the public space in front of the shrine has changed into private or administrative spaces. Although this space was dominated by motor vehicles, it acted as an entrance space that connected the dome and the gate of the shrine to public spaces and created a special mental image for people of Shiraz, tourists, and pilgrims. In order to provide access to the shrine, a new street was constructed that led to the destruction of an important part of the historic fabric. In fact, development in the historic part of Shiraz is in complete contradiction to the cultural identity of the city. 5 DISCUSSION In this section, we attempt at a comparison of the above four cases. In the case of Jolfa, we are dealing with a historic neighborhood with special cultural features that has been found by policy-makers and authorities to have multiple uses. Introduction of recreational and leisuretime uses into this district can turn it into an attractive tourist target in Isfahan. The physical historical elements of the neighborhood act well as landmarks in the city and enable the introduction of new uses into these monuments. Establishment of educational uses in historic houses, such as the incorporation of the buildings of the faculty of arts of Isfahan University into a number of historic houses, has certainly increased the attendance of the youth in this fabric. Designing public spaces in form of small urban nodes, e.g. the small square in front of Vank Cathedral, making pavements and walls which are in harmony with the surrounding environment, and activation of walls by small-scale uses help to create cohesive and integrated urban spaces. However, it seems that the development of pedestrian areas in other passages is still in its beginnings and is limited to making pavements. Combination of leisure-time facilities such as cafés and restaurants and retail stores with cultural uses is important in the improvement of liveliness in the neighborhood. Introduction of new cultural and educational uses into historic elements, definition of leisure-time uses (café culture), definition of artistic activities, and physical measures such as preservation of valuable walls and renovation of other walls according to existing patterns have brought about positive consequences for the neighborhood. However, there is always a concern as to whether or not retaining historical elements in



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museums or reusing these elements individually is sufficient for culture-led regeneration of Jolfa. Are the local Armenians given primary importance in the context of current regenerations? Or is it perhaps possible that investment in commercial and recreational activities as a result of the combination of culture and commerce will downplay the life of these inhabitants and the neglected heritage of this neighborhood will get lost in the consumerist world of today? The experience of Jolfa was in general a successful case because it turned into an important tourist target in Isfahan. The renovation plan of the historic fabric of Gorgan has been a successful experience of revitalization that is closely related to cultural issues. This plan attempts to revive the most important spatial element of the fabric, i.e. Takiehs, and pioneer in large-scale regeneration of the culture and identity of the fabric. In the historic fabric of Gorgan, Takiehs are not only different from spaces with similar functions in other countries, but also they are the only open urban spaces with a religious function in Islamic urban development. Therefore, revitalization of historic fabric with an emphasis on open urban spaces that have religious functions is an effective measure for culture-led regeneration. In line with this, regeneration of the passages that link these squares and urban spaces in order to enrich the skeleton of the fabric is a valuable measure that is, as mentioned above, being performed in five axes. Allocation of historic buildings to new entities which are responsible for the deteriorated fabric, e.g. the Organization of Cultural Heritage, is an important step in regeneration. This will foreground the historic fabric of Gorgan in the future. Nevertheless, it seems that the introduced uses do not respond to contemporary needs and still require more creativity with regard to leisure and recreational uses such as cafés and restaurants and traditional hotels within historic houses as well as artistic and Islamic uses if they are to increase the tourist potentials. The ceremonies of the neglected heritage like mourning events and Toghbandan are still being practiced informally in the historic neighborhoods of Gorgan. These rituals interacted with the fabric through certain structures and passages which should be especially emphasized in the regeneration plan. Here too, as in the case of Jolfa, it seems necessary to develop a comprehensive plan for organizing cultural events in line with culture-led regeneration. In Bushehr, new plans of development do not recognize the central role of the historically rooted rituals that were once held in the squares of neighborhoods. In fact, contemporary projects restrict these rituals instead of reinforcing their foundations. Despite construction of new pedestrian areas in the historic fabric of Bushehr as well as creation of cultural uses, lack of a consistent approach to these spaces has prevented the efficient revival of the fabric. From a cultural point of view, the experience of Bushehr has entailed a change in policy because there is a rich background of cultural interactions in the history of this city. In the central fabric of Shiraz, an anti-cultural development in the real sense of the word is taking place. Most changes in this area are intended to destroy the fabric and creating commercial uses. This attitude stands in direct contradiction to the cultural identity of Shiraz. The rich cultural and literary background of Shiraz and its large number of national and international tourists provide a good opportunity to move toward cultural uses. This should be addressed as a basic issue of regeneration programs in the historic fabric of Shiraz.


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Table 1. A comparison among the four cases in terms of culture-led regeneration. Cultural Strategies Creative Spatial Fabric Context Aims Leisure Physical cultural improve time measures activities ment Revitalizat ion of the Regenera identity of tion of Introductio neighborho old n of ods; takiehs; Having cultural increased precious margins, uses; urban physical nodes, Establishm wealth; landmark and ent of safety; s; coherent Invaluable Handicraft social Renovati spatial Qajar bazaar; justice; on of four organizati architecture; religious security; axes as on; traditional uses such integration historical reconstru events as takiehs of the axes; cted and fabric with renovatio pavement mosques; spaces and n and s and Allocation urban conservat walls in of valuable functions; ion of the streets monuments conservati historic to new uses on of monumen historic ts elements Conservati on of long- Introductio standing n of Inhabitation values; leisurePreparati of revival of time uses on of Armenians the social such as Introductio proper and identity; café and n of pedestria formation of attraction restaurant educational n areas; a special of tourists; into and artistic proper identity; creation of historic uses into urban invaluable an sites; historic furniture; historic educationa establishm monuments proper monuments l, cultural, ent of lighting and churches and accommod accommod ational ational uses region Organization Determinat of cultural Changing ion of a and religious the cultural Eliminati cultural ceremonies space of on of the axis; in the the square space of Restarting squares of to a the life in the the football square historic neighborhoo pitch fabric ds

Events

Toghbanda n ceremony; Chaharsha nbe-suri

Organizati on of ceremonies like Christmas celebration

Eliminatio n of the basis on which ritual ceremonies were held



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Table 2. A comparison among the four cases in terms of culture-led regeneration (continued). Rich cultural Allocation Destructi and literary of the on of a background public large of Shiraz; space of number tourism; a Creation of the Shrine of historical a large to historic fabric and a courtyard administrat houses; special in the ive uses; Destructi development Shrine for substitution on of the pattern religious of cultural historic especially ceremonies and fabric of due to the historical Shiraz by combination spaces with constructi of squares commercial ng a new and bazaars spaces street

6 CONCLUSION The above four cases indicate that the rich background of Iranian cities can contribute to the improvement the quality of life in historic fabrics. The cultural diversity in the history of Iranian cities suggests that culture-led regeneration is a proper approach to begin with. In the meanwhile, urban spaces, as the context in which culture is realized, play a central role. To sum up, the following strategies of culture-led regeneration can be proposed for Iranian cities, while admitting that each city requires its own specific regeneration document: Recognizing the role of the urban spaces of the historic fabric in the formation of the cultural structure (e.g. takiehs in Gorgan); Culture-led regeneration of historic fabrics with an emphasis on open urban spaces as well as cultural and historical landmarks; Conservation of the existing fabric with the minimum destruction possible (a salutary lesson from the case of Shiraz); Construction of urban spaces according to the historical patterns of development (a salutary lesson from the case of Shiraz); Development of specific plans and policies for supporting cultural minorities; Development of a comprehensive plan for organization of cultural events based on the neglected heritage of the region; Increased spatial attractions by means of leisure-time uses and spatial improvement; Conservation and revival of those urban spaces that host traditional and religious ceremonies and rituals (e.g. squares in Bushehr and takiehs in Gorgan); Considering the potentials of historical elements by reuse of these elements, revival, and renovation; Establishing a balance between beneficial investments and the cultural aspect of inhabitation within historic fabrics. ENDNOTES 1

Department of Environment, Transport and the Regions Office of the Deputy Prime Minister Department for Communities and Local Government 4 Department of Culture, Media and Sport 5 Arts Council England 6 A place where people can gather for religious mourning ceremonies. 7 Muharram is the first month of the Islamic calendar. Shia Muslims observe and respect Muharram as the month in which Hussein ibn Ali, the grandson of Muhammad and son of Ali,was martyred in the Battle of Karbala.They mourn for Hussein ibn Ali and refrain from all joyous events.(https://en.wikipedia.org/wiki/Muharram). 8 It is a type of Iranian condolence theater that is performed in the public during the month of Muharram. 2 3


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