Stucco work (gachbori) is one of the most prominent and sophisticated traditional arts of Iran, which has historically been executed using a variety of technical methods. Due to the inherent fragility of gypsum and the impact of both environmental and human factors that contribute to the deterioration of historic plasterworks, the conservation and restoration of these elements—particularly through the revival of forgotten or seldom-used techniques—are essential for preserving and transmitting cultural heritage to future generations.
One such technique is the creation of openwork stucco decorations, which are freestanding ornaments executed in a pierced style without a backing layer. This method is especially prevalent in the central regions of Iran, notably in the historic houses of Kashan, where lattice windows (rozans) filled with colored glass are a distinguishing feature. From a technical standpoint, the decorative work is carried out by applying gypsum over a temporary support; once the support is removed, the cut-out patterns are completed from the rear with stained glass.

This article presents a detailed account of the reconstruction and restoration process of one such gypsum lattice window in the Abbasi House of Kashan. Through a practical and field-based approach, the authors replicate and document the historical construction techniques and restoration steps involved in reviving this architectural ornament, offering insights into the craftsmanship and methodology behind these delicate works.

Restoration has evolved from humanity's need to repair and reconstruct the objects and structures around them, and it has played various roles throughout history. What we recognize today as the practice and term of scientific restoration in Iran dates back approximately 52 years ago. This was when the first scientific laboratory for restoration was established at the Museum of Ancient Iran, and a few years later, in 1977, experts and professors from the National Organization for Conservation of Antiquities, in collaboration with Farabi University, founded the field of historical artifacts restoration in Isfahan. The first graduates and specialists in restoration were employed by governmental institutions and gradually, the profession became recognized among the cultural and artistic community. However, there was still a long way to go before scientific restoration would be fully accepted as a profession in society. After the Islamic Revolution, along with an expansion of university programs and various branches of restoration studies, there was a marked increase in graduates entering this field. While this created job opportunities within cultural heritage for some individuals. Over time due to various reasons, the cultural heritage sector could not absorb all graduates. As a result, since the late 1990s, unemployment rates within the field of restoration have significantly risen. This article reflects on past experiences within this profession based on numerous accounts from individuals working in related fields of restoration. The aim is to highlight both challenges and opportunities regarding career prospects for restorers working with historical artifacts and objects both now and
into the future.