Shiraz 2012: suspension


In City of Knowledge I suggest that in the late 1990s and early 2000s iron skeleton frames and columns were two signs through which one could understand the spatio-temporal coordinates of Shiraz, and Iran more generally. As signs of the present they pointed on the one hand towards a vision of a bright “developed” future and on the other hand towards a glorious past made of a solid national heritage. I also argue that this spatio-temporal imagination was conflicted, and that it resulted in a fractured landscape made of unfinished buildings, restorations and ruins.

In 2012, Shiraz is still characterized by a combination of construction, restoration and ruins. While many of the iron structures that punctuated the sky of the city have become apartment or office buildings, new skeletons still appear. Restorations are also continuing, while older homes are being demolished, gardens turned into apartments and so on. Construction of a subway system has created disruption along several main throughways (Boulvard Modarress, Vali ‘Asr, Ave Karim Khan, Namazi). Areas of the old neighborhoods, such as those around the Shah Ceragh shrine have been remodeled (new bazaar, and avenues) while others have been turned into informal parking lots where cars and ruins coexist.

There are also significant changes. The old neighborhoods are experiencing the beginning of what might become a more sustained gentrification process. A few self-described “traditional” hotels have opened, while more and more nineteenth century buildings are being restored. Some of these restored buildings now host private or public museums, which attack tourists and locals alike. This is a process that has happened already in other cities in Iran, most notably Yazd, where there has been a more sustained effort to transform the old neighborhoods into a tourist attraction.

In the late 1990s and early 2000s, while oriented at defining the space-time of the present, eskelets and columns delineated a trajectory marked by references to the past and the future, in relation to which a present could be defined. Today, it is as if the coming to fruition of that spatio-temporal trajectory has made its “presentist” inclination absolute. Though not entirely gone, the “futuristic” and “heritage” oriented imagination has given way to a suspended temporality. Past and future are not anymore points of reference, but a set of juxtaposed images that inhabit a suspended present.