Archaeological excavations at the ancient site of Haft-Tepe commenced in the winter of 1965 under the direction of Dr. Negahban and continued for fourteen seasons until 1978. These excavations led to the discovery of a significant assemblage of architectural remains and diverse historical artefacts. Among the finds were various ceramic vessels and objects, a collection of clay tablets, seals and seal impressions, a range of bronze artefacts, numerous fragments of painted mud plaster, coffins, stone objects, clay busts, as well as decorative items such as necklaces, plaques, glass vessels, and bone tools. A considerable portion of these artefacts is today preserved in the Haft-Tepe Museum. In response to the quantity and importance of the discoveries, the idea of establishing a museum adjacent to the archaeological site was raised during the second season of excavations. Construction began in 1970 and, upon completion, the museum was inaugurated in the spring of 1973. With the outbreak of the Iran–Iraq War in 1980, the museum was closed; part of its prominent collection was transferred to Tehran, while other objects remained in situ. In the spring of 2001, research and conservation activities were resumed under the auspices of the Chogha Zanbil - Haft Tepe Cultural Heritage Base. One of the first major undertakings during this period was the reorganisation of the museum’s collection, carried out in collaboration with graduate students of conservation from the University of Art, Esfahan. In this process, artefacts that had previously been kept in unsuitable and scattered conditions were collected, classified, recorded, documented, and systematically arranged. This initiative laid a crucial foundation for the long-term preservation and safeguarding of the invaluable heritage of Haft-Tepe.

Kahgel plaster has been a common method for protecting architectural structures at the Takht-e Soleyman World Heritage Site. Primarily applied to stone and brick structures, this plaster has proven inadequate in the site's mountainous, high-rainfall climate with sub-zero temperatures, leading to significant erosion. This study investigates the potential of replacing Kahgel plaster with traditional half-baked, half-crushed gypsum plaster as a protective coating for walls and architectural remains. The aim is to prevent moisture penetration while minimizing the new coating's own deterioration. Field research, including observation and documentation, was employed to gather data. Results indicate that the use of traditional gypsum mortar as a restoration material at the site has been successful. Derived from pounded and crushed kiln-fired gypsum stone, this mortar exhibits similar characteristics to the original mortars and offers adequate strength in the region's harsh climate. Consequently, it presents a viable sacrificial coating alternative to Kahgel plaster.

The creativity artistry in using plaster alongside other materials to decorate buildings has long been of interest to architects. Brick and plaster are two materials that have created various forms of decoration together, and this study examines the technology of various types of these techniques. The enormous Soltanieh Dome is one of the most important mausoleums in the world, and plaster is the dominant decoration in this building. One of these decorations is the combination of plaster and brick, which stands out as a physical decoration. How this type of plaster decoration emerged, examining the various methods of its implementation, and the method of creating decorations independent of the  combination of brick and plaster are among the topics of interest in this article. The research method is based on the analytical-descriptive method. Data collection is based on objective observations and the author's workshop experiences, using books, documents, and articles on plastering techniques in Iranian architecture. In the studied example of the Soltanieh Dome, the creation of a common type of these  decorations during the Ilkhanid period is depicted on the wall. In some parts, these decorations are only on the joints and next to the bricks, and in other parts, they are worked on the entire surface of the bricks and with brick patterns. During the restoration and reconstruction
of some of these decorations, the techniques used in creating the designs have been understood, so that plastering in situ for the joints is the artist's first priority, and after the joints are covered with plaster, the decorations are applied. The use of paint, which complements the implementation of these decorations, helps to define the boundaries of the brickwork, as the presence of red ochre pigment, yellow ochre pigment, and carbon black has been partially proven in this building.