Scholars in Context: Maryam Heydarkhani

Jadaliyya's Scholars in Context series consists of Q&As in which scholars of the Middle East describe their research and the paths they took to arrive at it. The series provides a platform for these scholars to highlight the significance of their work, identify the audiences they seek to reach, and outline their future research trajectories, giving readers an in-depth look at the latest research in a given field.

Jadaliyya (J): What is the main focus of your current research and how does it connect to or depart from your previous work?

Maryam Heydarkhani (MH): My current research focuses on nineteenth-century architecture in Iran, particularly madrasas and their integration with other spaces like mosques. I aim to understand their diverse architectural forms through the lens of everyday life and social roles. While my academic background is in architecture, my current research adopts an interdisciplinary approach, combining architectural history with cultural and social history.

This subject was the focus of my PhD thesis, which I am now preparing to publish as a book. Throughout this work, I engaged extensively with unpublished, first-hand, written documents, especially endowments, to uncover the evolving roles of these buildings. My research revealed significant transformations in their form and function, as they transitioned from symbols of governmental authority to influential religious and social centers. These shifts were closely tied to evolving dynamics between the state, religious scholars, and the public, offering new insights into the social history of Iranian architecture.

J: What particular topics, issues, and literatures does it address?

MH: The study addresses the underexplored cultural context of Iranian architecture during the Qajar period. Historians of Iranian architecture have often focused on stylistic or typological categories, sidelining the cultural and social dimensions of these spaces. The emphasis has traditionally been on the formal aspects of architectural design, with functions understood primarily in relation to form.

My research shifts this perspective by examining the lived experiences and cultural contexts within Qajar madrasas, exploring their roles as dynamic social spaces rather than static architectural forms. This approach draws upon interdisciplinary literature, bridging architectural history with social, cultural, and political studies, thereby enriching the broader discourse on Middle Eastern architecture.

J: What brought you to this work? What was the source of inspiration?

MH: The inspiration for this work came from visiting historical buildings in Iran and realizing how little I understood about the lives of the people who once inhabited them. Conventional architectural history often fails to provide a sense of the lived experience within these spaces. I believe this lack of connection is one reason many people struggle to appreciate historical buildings and their value. While modern architectural forms dominate our everyday lives, the essence of life still resonates in historical architecture. My main concern is to bridge the gap between form and life in architecture, making historical spaces more relatable and meaningful to contemporary audiences.

J: What audiences would you like to reach, and what kind of impact would you like your research and writing to have?

MH: In addition to art and architectural historians, I aim to engage interdisciplinary academic audiences, including scholars in cultural, social, religious, and political studies, and education.

On a broader level, I hope my work will influence the general understanding of cultural heritage, particularly how people approach and engage with it. Whether they are visitors, conservationists, or professionals involved in restoration, I aspire for my research to contribute to a deeper appreciation of historical buildings and their relevance in contemporary life.

J: What other projects are you working on now?

MH: My other project examines nineteenth-century international expositions and Iran’s involvement in them. I explore how Iranians perceived and contributed to these events, focusing on Persian pavilions and the artisans and builders involved. This project also investigates the relationships between Iran and Western countries during this period and how these interactions influenced Iranian art and architecture.

For example, the travels of Naser al-Din Shah to these expositions, particularly his three key journeys, were pivotal. Previous research has relied heavily on European sources, such as images, reports, and the Shah’s diaries documenting his visits. However, limited studies have explored Persian sources regarding Iran’s participation in these fairs. By examining these neglected Persian narratives, my research aims to present a more comprehensive understanding of Iran’s engagement with the global exhibitions of the nineteenth century.

J: Your background is in architecture. Do you practice? If so, how do you integrate your expertise in architecture, architectural history, and research?

MH: Yes, I am also a licensed architect. Much of my work has involved the restoration and renovation of historical buildings, such as the Ameriha House in Kashan, where my ability to conduct historical research proved invaluable. Another area I find particularly fascinating is the design and renovation of museums. I have contributed to projects such as the Pasargad Museum, the Tehran Museum of Contemporary Art, and the National Museum of Iran.

Through these projects, I have developed a deep interest in designing museums, exhibitions, and galleries—not only in their architectural aspects but also in the research and curatorial processes that support them. I aspire to further integrate my expertise as a historian into roles such as curating historical exhibitions, conducting archival research, and contributing to museum work, drawing inspiration from professionals like Susan Babaie.