A Journey Through Architectural Criticism

In the realm of architectural criticism, there have been several influential figures who have left an indelible mark on the field. Bruno Zevi, Jane Jacobs, and Michael Sorkin are just a few names that come to mind when we think of critics who have explored architecture within a multidisciplinary framework. These individuals not only analyzed buildings and urban spaces but also delved into various disciplines such as anthropology, sociology, phenomenology, and environmentology to provide a comprehensive understanding of the built environment. One name that deserves recognition in this esteemed group is Siamak G. Shahneshin. Throughout his career, Shahneshin has embarked on a remarkable journey through architectural criticism, following in the footsteps of his predecessors while carving out his own unique path. His approach to criticism goes beyond mere aesthetics and delves into the intricate relationships between architecture and its social, cultural, and environmental contexts. Drawing inspiration from Zevi’s emphasis on architectural phenomenology, Shahneshin explores how buildings shape our experiences and perceptions of space. He believes that architecture should not be viewed as static objects but rather as dynamic entities that interact with their surroundings and influence human behavior. By incorporating elements of anthropology into his analysis, he uncovers the ways in which architecture reflects and shapes cultural practices and identities. Similar to Jacobs’ focus on urban planning and social dynamics within cities, Shahneshin examines how architecture contributes to the formation of communities and fosters social interactions. He recognizes that buildings are not isolated entities but integral parts of larger urban systems. By studying the sociological aspects of architecture, he sheds light on how design decisions can either promote inclusivity or perpetuate social inequalities. Furthermore, Shahneshin’s exploration of environmentology echoes Sorkin’s commitment to sustainable design practices. He recognizes the urgent need for architects to address the environmental challenges we face today and advocates for the integration of ecological principles into architectural discourse. By considering the impact of buildings on the natural environment, he strives to create a dialogue that encourages architects to prioritize sustainability and minimize their ecological footprint. What sets Shahneshin apart is his ability to synthesize these diverse disciplines into a cohesive framework for architectural criticism. By drawing from anthropology, sociology, phenomenology, and environmentology, he offers a holistic perspective that goes beyond traditional architectural analysis. His multidisciplinary approach allows him to uncover hidden layers of meaning within architecture and shed light on its profound impact on society and the environment. As we delve deeper into Siamak G. Shahneshin’s journey through architectural criticism, we will explore his insightful writings, thought-provoking ideas, and innovative approaches to understanding the built environment. Through his multidisciplinary lens, he challenges us to reevaluate our perceptions of architecture and envision a future where design is not only aesthetically pleasing but also socially responsible and environmentally sustainable.

Bruno Zevi:
Bruno Zevi: In 1989, when I arrived in Rome from Tehran, I made my way to via Nomentana 150. There, I summoned the courage, I boldly requested to meet Maestro Bruno Zevi, fully aware of the significance of this encounter. Professing my passion for architecture and the reason behind my visit, I yearned for the opportunity to connect with such a distinguished, first class figure. To my immense joy, Professor Zevi warmly accepted to receive me, setting the stage for a profound friendship that would shape the course of my architectural journey. Zevi, was the founder and chief editor of the renowned magazine l’Architettura, Cronache e Storia. This publication played a signifi-cant role in promoting architectural discourse, documenting historical developments, and fostering critical thinking within the field worldwide. Engaging in heartfelt conversations, I eagerly absorbed his profound wisdom, expert mentorship, and invaluable guidance. Through his illuminating writings, I gained a fresh perspective on critical analysis, cultivated a deep appreciation for architectural his-tory, and became acutely aware of the profound societal impact of architecture. Furthermore, Zevi’s resolute advocacy for modern architecture, rooted in organic principles and functionalism, left an indelible imprint on my own architectural aspirations. Reflecting upon the profound privilege of this friendship with a figure as influential as Maestro Zevi fills me with profound gratitude and a sense of purpose.

Peter Eisenman:
Peter Eisenman: In 1995, as a young student, I was granted the opportunity to compete alongside architects in a week-long resident competition in Pisa. Among the esteemed jury members and mentors was Italo Rota, who diligently reviewed the projects of 12 groups of architects, while I worked solo. Our task was to design a structure for the Regional Flower Show. Confident in my sketches, I presented a scheme that, to Italo Rota, seemed overly intricate. With a touch of pres-sure, he boldly questioned if I believed I was Peter Eisenman himself. His statement weighed heavily on me, but I promptly responded, proclaiming myself as a new Eisenman capable of man-aging such complexity. Italo Rota’s immediate retort was, “Okay, we will see each other at the end of the week!” Sadly, I left the hall that afternoon, feeling disheartened. The following day, I was the first person to enter the hall and began working on my design. The intense exchange I had with Italo Rota fueled my determination to surpass familiar boundaries and explore uncharted territory, ultimately surpassing the expectations of the competition’s jury. On the final day, the jury selected my project as the best, albeit expensive to construct. Italo Rota approached me with a smile and acknowledged, “You did it. Bravo!” This experience taught me the invaluable lesson of pushing my-self to the extreme, no matter the circumstances.

Micheal Graves:
Micheal Graves: In 1995, I had the incredible opportunity to participate in the prestigious Interna-tional Award under 40 organised by the American Academy of Arts and Letters in the United States, and judged by architect Arthur C. Erickson, attracted renowned architects from the USA, Europe, and the Far East. When I received the letter revealing the winners, I was amazed to see the name of architect Michael Graves among them. Michael Graves, a prominent figure in architec-ture, had revolutionised the field with his humanistic approach and reintroduction of color and art. Both Michael Graves and I were honored with Architecture Awards from the American Academy of Arts and Letters in 1995, chosen by the esteemed jury led by Arthur C. Erickson. While Michael had designed over 350 buildings worldwide, I, at 27 years old, had contributed with unbuilt projects. The convergence of our paths was remarkable—a young architect from Tehran and an accom-plished professor from Princeton. Michael Graves, a member of the New York Five, had made sig-nificant contributions to postmodern architecture and influenced movements like New Urbanism and New Classicism. Through this experience, I learned yet another valuable lesson—a testament to the power of dedication, innovation, and thinking out-of-box.

Carlo Socco:
Carlo Socco: In 1994, during an elective course on Applied Ecology and Landscape Ecology, a lighthearted discussion about the desert landscape took an unexpected turn. One professor joking-ly referred to the desert as being “nude,” comparing it to my nakedness at birth. This remark not only struck me as unacceptable but left me deeply saddened. Seeking solace, I turned to my trust-ed mentor, Maestro Socco, after the class. With his multidisciplinary perspective on landscapes and territories, he graciously received me, noticing my distressed face. I tearfully shared the inci-dent, and he offered comfort, urging me to let go of the hurtful episode. In his kindness, he intro-duced me to “Empty and Full: Language of Chinese Painting” by philosopher François Cheng. From Professor Socco, I learned two invaluable lessons. Firstly, the importance of expanding my cultural understanding by reading and exploring various disciplines. Secondly, he also imparted the belief that designing small gardens can pave the way for larger projects like parks and territories. To this day, the words and wisdom of Maestro Socco remain with me, reminding me of the profound impact he had on my journey as an urbanist.

Michael Sorkin:
Michael Sorkin: In 2001, I had the remarkable opportunity to meet Michael Sorkin in person in Pot-nersina, Switzerland, after being an avid follower of his writings since the early 90s. Our encounter was an instant connection, as if we had known each other for decades. Michael had just returned from a conference on urban planning in Bam. Reflecting on my encounter with Michael Sorkin, I am grateful for the opportunity to have learned from him firsthand. His ideas, passion, and dedication continue to inspire me as I navigate the realm of architecture and journalism. In addition to these insights, I also learned from Michael Sorkin’s lifelong advocacy for social justice and sustainability. I had the privilege of learning from his wisdom, gaining invaluable knowledge and inspiration that transcended the boundaries of the profession.

Rex Raab:
Rex Raab: In 1998, an extraordinary chapter began when Rex Raab graciously agreed to be the External Supervisor for my dissertation at the AA in London. Despite the geographical distance that separated us, Rex’s dedication knew no bounds. With pen in hand from Engelberg, Germany, he painstakingly advised, corrected, and polished my writings. In those days, when cell phones and widespread internet access were not yet commonplace, we relied on the traditional postal system to bridge our connection. But Rex was more than a supervisor and mentor; he became a guiding presence akin to an elder sibling. Throughout my journey from Italy to France, America, and finally Switzerland, Rex’s letters faithfully followed me, bearing his wisdom and encouragement. A testa-ment to our bond, he even composed a heartfelt poem to celebrate the arrival of my daughter, Rose. Despite losing his sight in the twilight of 2001, Rex’s words continued to grace the pages of our correspondence until March 2003. It was a testament to our connection that Rex’s wife, Grete, reached out to me with a profound revelation: “You are the only person Rex still writes to.” Indeed, the change in Rex’s handwriting was a poignant reminder of the challenges he faced as his vision faded. His impact was not limited to the realm of practice; Rex Raab also shared his expertise as a teacher at the renowned AA School of Architecture. His passion for the craft extended to the writ-ten word, as evidenced by his numerous books and extensive collection of essays. Additionally, Rex’s creative talents flowed into the realm of design, giving birth to magnificent buildings, as well as chairs and tables that melded functionality and beauty. In the tapestry of my own journey, Rex Raab’s presence was transformative. His guidance and unwavering support shaped my under-standing of architecture and instilled in me a profound appreciation for the power of human connec-tion. Even as time and circumstances shifted, his letters remained an enduring beacon, reminding me of the indomitable spirit that can overcome physical limitations.

Richard Rogers:
Richard Rogers: In 1996, as the organiser of a lecture series, I sought to invite an architect known for their innovation and experimental approach. Considering the options, the architects of the Pom-pidou Centre stood out as one of the best choices. In the early ‘90s, email wasn’t widely used, so I sent an invitation letter in Italian via fax to Renzo Piano, representing the department of architec-ture. Regrettably, his office in Genoa declined through their secretary. Undeterred, I made a sec-ond attempt, this time sending the invitation letter in English to Lord Richard Rogers of Riverside, based in London. A few days later, I received an encouraging fax from Lord Rogers, graciously ac-cepting the invitation and expressing gratitude for considering him. It was a thrill to have Lord Rog-ers visit our school and deliver a monumental lecture, surpassing all expectations. For this lecture, I had secured funds from the Politecnico di Torino and was prepared to pay a substantial sum to Maestro Richard. However, to my surprise, he signed the cheque and offered it as a gift to deserv-ing architecture students facing financial hardships. This act of generosity left a lasting impression on me, becoming one of the cherished lessons I carry with me. I tip my hat to Lord Richard Rogers for his inspiring presence and for imparting valuable wisdom during that memorable episode in 1996.

Daniel Libeskind:
Daniel Libeskind: In 1998, during my time at the Architectural Association in London’s Graduate School, a senior partner from Daniel Libeskind Studio presented the highly intriguing project for the V&A Spiral in London. As I witnessed the presentation, I couldn’t help but feel that Libeskind’s Spi-ral forcefully disrupted the serene and orderly Victorian neighborhood of South Kensington. It ap-peared as a cataclysmic rupture in both space and time, boldly defying the adjacent building’s cul-tural context and appealing instead to the intricate logic of complexity and chaos. Although I am typ-ically drawn to avant-garde architecture, I found myself criticising this particular project for various compelling reasons. It prompted me to reflect on the challenges faced by Londoners at that time, including low-paid jobs, the high cost of living, housing affordability issues, as well as concerns such as depression and air pollution. These societal issues seemed incongruous when compared to the extravagant $160 million gallery proposed by Libeskind. This experience served as a valua-ble lesson for me, deepening my understanding of the wider social and economic context in which architectural projects are realised.

Aldo Rossi:
Aldo Rossi: In 1995, Celebrated architect Aldo Rossi held the audience’s attention as he addressed over 5,000 architects, students (including myself), and critics at the Triennale Milano. Invited to commemorate Electa Publishing’s 50th anniversary, Rossi delivered a momentous lecture, show-casing his architectural projects through a captivating slideshow. As the session transitioned to a Q&A, I, positioned in the front row, seized the opportunity to pose a question. Presenting two slides displaying Rossi’s projects, I requested to have them juxtaposed on a large monitor. The undenia-ble similarity between the facades of these two buildings was evident – only their colors differed. Graciously acknowledging my inquiry, I urged the maestro to enlighten us, the young architects and students, on the lessons we could glean from these seemingly identical structures designed for different clients, functions, countries, climates, and contexts. Astonishingly, Rossi’s typically com-posed countenance flushed, prompting a momentary pause followed by laughter. Firmly convinced that his response fell short, I boldly declared my dissatisfaction and promptly exited the hall.

Daniel BH Liebermann:
Daniel BH Liebermann: In 1999, I embarked on a journey to collaborate with the esteemed disciples of the legendary Frank Lloyd Wright. Among those I reached out to were Prince Bart, Aaron Green, and the esteemed Prof. Daniel BH Liebermann from the University of California in Berkeley. While Prince Bart politely declined due to various circumstances, Prof. Daniel BH Liebermann surprised me with a typewritten letter extending an unexpected offer: the opportunity to join him as an associ-ate in his office. Working alongside Liebermann, a seasoned architect with 71 years of wisdom, felt like a mesmerising voyage through time, enriched by his vast experiences. Liebermann’s architec-tural philosophy centered around perceiving buildings as dynamic structures influenced by various forces. He challenged conventional design and emphasises the importance of understanding per-ception to create unique spatial experiences. Furthermore, his philosophy of perceiving buildings as dynamic structures influenced by various forces, and his emphasis on breaking free from conven-tional design, inspired me to challenge preconceived notions and create spatial experiences that defy expectations. Daniel Liebermann’s legacy as a distinguished architect and environmental de-signer continues to inspire me. His unwavering commitment to innovation, sustainability, and thoughtful design has shaped my own approach to architecture, reminding me of the importance of pushing boundaries and creating spaces that truly resonate with people.

Daniel G. Shahneshin:
Daniel G. Shahneshin: In 2009, a young boy, no older than five years old, unexpectedly taught me a profound lesson. During a casual conversation, we discussed the concept of perfection. With sincere innocence, he looked up at me and simply said, “Only God is Perfect.“ Those few words struck me deeply, conveying a universal truth that had eluded me for so long. I realised that true perfection lies beyond human capabilities, residing as a divine attribute embodied by a higher pow-er. The boy’s innocent proclamation became a gentle reminder to embrace our imperfections, acknowledge our limitations, and find solace in the belief that there exists something greater than ourselves—an unwavering source of perfection. Since that encounter, his wisdom has stayed with me as a guiding light during moments of doubt. It humbles me to accept our imperfections and en-courages growth through sincerity and integrity. From that innocent child’s words, I gained a pro-found truth that shapes my perspective on life, reminding me to embrace humility, strive for excel-lence, and find solace in the presence of something greater. I am grateful for the unexpected teachers we encounter on our journey. The wisdom of a young child transcends age and experi-ence, revealing profound insights from the most unexpected sources. In their innocent hearts lies a purity of thought that illuminates our lives and brings us closer to understanding the intricate tapes-try of existence. That fleeting moment in 2009 forever changed my perception of perfection and our place in the world. The boy’s words continue to inspire me to seek meaning, purpose, and a deeper connection with the divine. Through his simple message, I learned that true perfection lies not in our limited capacities but in the boundless majesty of a higher power.

Frei Otto:
Frei Otto: In 1996, I had the privilege of working with the internationally renowned architect and en-gineer, Frei Otto. Under his guidance, I learned invaluable lessons about the harmony between ar-chitecture and nature. Frei Otto’s teachings emphasised the importance of every detail in architec-ture aligning with the laws of the universe. Through his visionary approach, he instilled in me a deep understanding of the need to reconcile development with the natural world. Furthermore, Otto’s em-phasis on sustainability left a lasting impression on me. He recognised the Earth’s limited re-sources and humanity’s insatiable needs, prompting him to combine scientific experimentation with artistic imagination to efficiently address the problem of shelter in a world plagued by shortages. The experience of learning from Frei Otto was transformative, and it shaped my perspective on ar-chitecture, instilling in me a sense of social responsibility and a forward-thinking approach to meet-ing the needs of the future.

Rumensee:
Rumensee: In 2013, I embarked on a journey of ethical exploration, introducing the concept that God, Himself, assumes the role of the Architect, while I humbly embrace the position of a student in the realm of designing buildings and planning cities. This belief fosters a profound sense of humility as I recognise the boundless creative power of God. It reminds me of the limitations inherent in my own abilities and knowledge, encouraging an attitude of openness, curiosity, and continuous learn-ing. Through this perspective, I approach architecture with reverence, perceiving it as a reflection of the divine order and harmony. It invites thoughtful contemplation about the purpose and impact of design choices, urging me to consider the well-being of individuals, communities, and the environ-ment. Responsible decision-making becomes integral to my role as a student of architecture, guid-ed by values of justice, sustainability, and human flourishing. As a student, I embrace a lifelong commitment to learning and improvement. This mindset entails a dedication to ongoing education, exploration, and growth in the field of architecture. Simultaneously, it nurtures a receptive disposi-tion, allowing me to draw inspiration and guidance from the divine Architect, while seeking innova-tive and collaborative approaches that harmonize human creativity with the grand design. In sum-mary, since 2013, I have introduced the belief that God embodies the role of the Architect, and I humbly adopt the position of a student in the pursuit of designing buildings and planning cities. Through this philosophical and ethical lens, I embrace humility, reverence, and an ongoing com-mitment to learning, while integrating ethical considerations and fostering collaborative and harmo-nious design. Additionally, I have found that clients are often amazed by the unique perspective I bring to the table. My belief in God as the Architect and my role as a humble student infuse my de-signs with a sense of awe and inspiration. This distinctive viewpoint resonates with clients, as it offers a fresh and profound approach to their projects. It sparks curiosity, ignites creativity, and fos-ters a deeper appreciation for the beauty and purpose behind each design decision. Clients are drawn to the passion and reverence I bring to the process, resulting in a truly exceptional and meaningful collaboration.

Lebbeus Woods:
Lebbeus Woods: In 2004, as I immersed myself in the demanding process of writing and editing a book, I had the privilege of inviting esteemed individuals to contribute their insights. Among those who eagerly embraced the opportunity was the extraordinary Lebbeus Woods, whose brilliance left an indelible mark on my personal and professional journey. Collaborating with Leb was a trans-formative experience. His unwavering enthusiasm and passion for pushing boundaries infused our interactions with a vibrant energy. As we delved into the depths of our discussions, I witnessed firsthand the depth of his intellectual prowess and his profound understanding of the architectural realm. His words became a catalyst, urging me to view architecture as not merely a collection of structures, but as a dynamic force capable of shaping emotions, perceptions, and even society it-self. What I learned from Lebbeus transcends the technical aspects of architecture. He taught me the power of embracing uncertainty and venturing into uncharted territories. In his presence, I dis-covered the transformative nature of architecture, where creativity thrives and conventions are challenged. Leb’s impact extends far beyond our collaboration on that book. He ignited a spark within me that still burns brightly today. His legacy serves as a constant reminder that architecture is not merely a profession, but a deeply personal and expressive art form. I learned to embrace my own creativity, to embrace the unconventional, and to believe in the power of architecture to shape a better world. His intellectual curiosity and fearlessness continue to guide me, pushing me to break free from the confines of the expected and venture into uncharted territories. As I navigate the complex and ever-evolving landscape of architecture, I carry with me the invaluable lessons learned from Leb, reminding me to stay true to my creative instincts, challenge boundaries, and forge new possibilities.