Domesticity and Consumer Culture in Iran: Interior by Pamela Karimi PDF

By Pamela Karimi

Examining Iran’s contemporary historical past in the course of the double lens of domesticity and customer tradition, Domesticity and shopper tradition in Iran demonstrates major factor of the modernization strategy in Iran complicated past political and public spheres.

On the cusp of Iran’s access into modernity, the foundations and tenets that had traditionally outlined the Iranian domestic started to vanish and the inflow of recent family items progressively resulted in the significant actual enlargement of the household milieu. accordingly, architects, designers, and advertisement advertisers shifted their realization from advertisement and public structure to the recent domestic and its contents. Domesticity and buyer tradition additionally turned themes of curiosity between politicians, Shiite non secular students, and the Left, who communicated their respective perspectives through the preferred media and diverse different potential. at the moment, usual Iranian households, who have been in a position to selectively appropriating facets in their fast atmosphere, proven their resistance towards the formally sanctioned changes. via studying a chain of case reports that elucidate such phenomena and appraising a variety of gadgets and archival documents―from furniture, home equipment, architectural blueprints, and maps to pictures, motion pictures, television sequence, novels, artistic endeavors, scrapbooks, work-logs, own letters and reports―this booklet highlights the importance of personal lifestyles in social, fiscal, and political contexts of contemporary Iran.

Tackling the topic of domestic from various views, Domesticity and customer tradition in Iran hence indicates the interaction among neighborhood aspirations, overseas impacts, gender roles, shopper tradition and women’s schooling as they intersect with flavor, type, household structure and inside design.

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Extra info for Domesticity and Consumer Culture in Iran: Interior Revolutions of the Modern Era

Sample text

The point was to keep various family members in their socially defined places through interior spatial and ornamental arrangements, and not surprisingly these arrangements were defined along gender lines. 33 In 1881, a new harem complex was built to replace the old one. While still designed in the fashion of older family quarters (andarūns) with all rooms arranged around a central courtyard and no views to the outside, this new harem reflected the nurtured individuality with which Nasir al-Din Shah regarded his wives and daughters.

92 Such cultural repercussions may be undoubtedly The hovel, the harem, and the hybrid furnishing 37 more telling; however, from an aesthetic standpoint these printed images, which interfaced with structural media, resulted in the decline of traditional decorative revetments and craftsmanship. At the time, this was not a matter of concern for Iranians. 16 Advertisement for Andrea Radio, Tehran musavvar (Illustrated Tehran), Ābān 1328/October 1949, no. 327, p. 22. Courtesy of the Center for the Study of Contemporary History of Iran, Tehran 38 The hovel, the harem, and the hybrid furnishing and moved to the threshold of decline.

However, in the last decade of the Pahlavi regime this view was contested. , being both modern and Iranian; a discourse that was at this historical juncture endorsed widely by Iranian intellectuals. The attraction of architects to a spiritual Islamic identity—one, which was, according to them, manifest in the layout of the courtyard house—was part of the process of re-inventing Iranian identity as both subjects and objects of modernity. 55 Although some characteristics of gendered space within the modern home of the early Pahlavi period are introduced in Chapters 2 and 3, Chapter 5—“Gendered spaces and bodies out of place”—details the role gender played in the design culture of the last decade of the Pahlavi era when women increasingly entered fields where male power was firmly entrenched.

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