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Hamid Fadaei,
Volume 7, Issue 4 (2-2025)
Abstract

Air pollution is one of the major challenges of modern life, exacerbating environmental crises, particularly in developing countries, and posing a serious threat to cultural heritage. Marvdasht, due to its ongoing development, is among the regions facing this issue. The presence of numerous historical sites registered on national and world heritage lists has made the impact of air pollution—especially considering the region's industrial expansion—a significant concern for cultural heritage specialists. This concern is further amplified by the presence of limestone-based stone heritage sites, such as the UNESCO-listed Persepolis and the Naqsh-e Rostam historical complex. These monuments, composed primarily of calcite, are highly susceptible to direct and indirect erosion and degradation caused by acid rain. This research aims to identify the sources of air pollutants in the region and assess their impact on the erosion of cultural heritage and stone monuments. Through a review of theoretical sources, field investigations, and laboratory analyses, the major sources of air pollution in the Marvdasht plain were identified and evaluated. The collected data were analyzed using qualitative and quantitative methods. To measure the impact of air pollution, air samples were collected from Persepolis and Naqsh-e Rostam as key stone heritage sites, as well as from the Marvdasht Petrochemical Complex, the primary pollution source in the area. The concentrations of NO₂, SO₂, O₃, and NH₃ in the air samples were measured using ion chromatography and stoichiometric calculations. The findings of this study indicate a high potential for pollutant-induced damage in the region.

Eskandar Mokhtari Taleghani,
Volume 8, Issue 1 (6-2025)
Abstract

This note reviews the book "The Interaction of Restoration and Architectural History in Iran" by Zaatollah Nikzad. The author highlights that this book, emphasizing the relationship between restoration and architectural history, addresses the necessity of preserving architectural works, especially from the perspective of understanding and transmitting the embedded messages within them. The author argues that restoration should not merely be seen as an executive task but as an interpretive and research process, aiming to understand both the architecture and its history. Restorers must benefit from diverse sciences and, in addition to their artistic skills, should possess a proper understanding of architectural history and the creators of historical works. Mokhtari emphasizes that restorers, along with their scientific and technical skills, should engage with historiography and cultural understanding of architectural works, and this understanding should be incorporated into the restoration process. Architectural history must be documented precisely in interaction with the performed restorations to provide primary data for researchers. Ultimately, Mokhtari introduces the restorer as a custodian of architectural history and science, arguing that they should, with precision and responsibility, preserve historical information and evidence and pass them on to future generations. The book "The Interaction of Restoration and Architectural History in Iran" highlights the significance of this new approach in restoration, which should be regarded as the first step in research on Iranian architectural conservation and history.

Hamidreza Bakhshandeh-Fard,
Volume 8, Issue 2 (9-2025)
Abstract

In the educational system of conservation, the main focus has always been on the transfer of technical and specialized knowledge regarding structures, techniques, and conservation interventions. Although this scientific foundation constitutes an inseparable part of training in this discipline, recent developments in the field of cultural heritage conservation demonstrate that social competencies, soft skills, teamwork, and professional ethics also play an effective role in improving the quality of specialists’ performance. The Isfahan University of Art, with a long-standing tradition in higher education in the arts, is one of the pioneering and influential centers in the country in the field of safeguarding and revitalizing cultural and historical heritage. Established in 1977 with the foundation of the “Isfahan Campus” affiliated with “Farabi University,” this academic institution has, from the outset, aimed to train experts in the conservation and restoration of historical monuments and traditional architecture, and has become an unparalleled center at the national level. This paper reviews the history of the establishment of the Faculty of Restoration as well as the current structure of conservation education in specialized faculties, emphasizes the necessity of integrating technical training with complementary domains, and proposes strategies for revising educational programs in order to train responsible and competent conservators.

Dr Sahar Rastegar Zhaleh,
Volume 9, Issue 1 (6-2026)
Abstract

The idea behind the principle of sustainability - which has shaped the entire body of contemporary conservation ethics- is to consider future users when making decisions and interventions. This principle tries to prevent extreme decisions based on taste and prejudice or interventions based on current knowledge. Ethical principles such as "reversibility" and "least intervention" have been shaped by different theoretical approaches and are widely used in conservation literature today. However, these fundamental principles, as influential variables in ethical and technical decision-making, have become a subject of debate and criticism in contemporary conservation thought. The aim of the present study is to address these criticisms from the perspective of sustainability in contemporary conservation by using the method of "deconstruction". Deconstruction is a critical thinking that examines variables in detail with the aim of showing gaps and contradictions. Having a critical approach means examining the causal relationships of issues and revealing what has remained hidden. Therefore, deconstruction does not want to destroy the truth, but rather restores it. Therefore, this research aims to reveal challenges such as the "subject of conservation", "reasons", "objectives" and "method" that have made the ethical principles of conservation contradictory, opaque and sometimes impossible, and also to criticize and deconstruct the principles that were accepted as axiomatic and unquestionable in classical conservation, trying to denaturalize what has always been natural. The present study has gone to the deconstructionist approach in order to examine the criticisms because it believes that with the deconstructionist approach, firstly, the real thing or, in other words, the "thing in itself" in the sense of pure truth, independent of human perception and senses, does not exist; secondly, theorists such as Marcuse (1988) and Nietzsche (1992) believe that what is known as truth within a culture is a form of communication and social peace contract between people. All moral standards are created by specific conditions (such as culture) and are solely related to these conditions. In this thinking, awareness of indeterminacy and uncertainty is the most real characteristic and truest characteristic of cultural and artistic phenomena. An issue in which moral standards and valuation do not remain in the monopoly of fixed principles and predetermined functions and roles and do not accept a fixed definition, but rather act as a fluid and changing factor in their cultural and situational context. The result is that contemporary ethics, with greater flexibility. Ethics are not applied as static and mechanical principles at the time of intervention, but are prepared to face unpredictable behavior by "adaptation" and "compatibility" and are considered as added values, that is, they are not mandatory in any case and can be ignored depending on the circumstances. Ethical principles and criteria such as minimal intervention, reversibility in interventions, similarity of materials and conservation techniques to the original part.

Seyyedeh Samira Altaha Bonab, Minou Gharehbaglou, Mahshid Mijani,
Volume 9, Issue 1 (6-2026)
Abstract

Historic urban fabrics and architectural heritage are subject to a wide range of international charters and conventions that establish guiding principles for conservation, restoration, documentation, reconstruction, and cultural tourism. Foundational documents such as the Venice Charter, the Nara Document on Authenticity, UNESCO conventions, and the Burra Charter emphasize concepts including authenticity, integrity, accurate documentation, and the responsible use of heritage resources. In practice, however, the implementation of these principles has become increasingly complex due to factors such as physical deterioration, natural hazards, restricted accessibility, and the growing pressures of mass tourism.
In recent years, advances in immersive digital technologies have introduced alternative approaches to addressing these challenges. Among them, the Metaverse understood as a three-dimensional digital environment integrating Virtual Reality (VR) and Augmented Reality (AR) has gained attention as a platform for experiencing, documenting, and interpreting cultural heritage. Unlike conventional visualization or presentation tools, Metaverse-based environments allow users to engage with heritage spaces interactively and remotely, often through digital avatars, thereby expanding possibilities for access and interpretation beyond physical constraints.
Although immersive technologies have been increasingly employed in heritage-related projects, their relationship with the normative frameworks defined by international heritage documents has not been sufficiently examined. Existing studies tend to focus on technical capabilities or user experience, while questions of compatibility with established conservation principles remain underexplored. This study seeks to address this gap by examining how Metaverse-related capabilities correspond to the requirements articulated in international charters and conventions concerning historic environments.

Dr. Masoome Amighpey, ,
Volume 9, Issue 1 (6-2026)
Abstract

Persepolis is a symbol of the glory and grandeur of ancient Iran. Persepolis is located next to the Marvdasht Plain and at the foot of Mount Rahmat in Fars Province, located in the city of Marvdasht, Iran. Unfortunately, the excessive extraction of groundwater in the Marvdasht Plain to provide water for agriculture has caused subsidence in this plain. Considering the importance of protecting ancient and historical monuments, it is important to investigate the extent of subsidence of the Marvdasht Plain within the Persepolis and Naqsh-e Rostam World Cultural Heritage Site in order to assess its impact on possible damage to this site. Calculations indicate widespread subsidence of the Marvdasht Plain with a maximum rate of 22.6 cm per year. Also, the results of the calculations indicate the expansion of subsidence of the Marvdasht Plain towards Persepolis and Naqsh-e Rostam in recent years. On the other hand, changes in the subsidence rate near these ancient monuments are significant. In order to preserve and protect these valuable ancient monuments, measures to combat the destructive effects of subsidence on them and sustainable management of the region's groundwater resources are proposed to prevent the subsidence of the Marvdasht Plain.


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