July 20, 16:45

Old photographs show the changes in Persepolis over time

The earliest known photographs of Persepolis, the ceremonial capital of the Achaemenid Empire and now a UNESCO World Heritage site, represent a rare visual document capturing the monument's appearance before modern archaeological excavations altered it.

First Images and Their Significance

These images, taken by photography pioneers in the second half of the 19th century and later supplemented by archaeological data and aerial photography, document both the state of the site and the development of archaeological research in Iran.

The first documented photographs of Persepolis were taken in the autumn of 1857 by the Italian military officer and photographer Luigi Pesche. He traveled to Iran as part of a military mission to train the Qajar army. Transporting the bulky equipment of the time across the Marvdasht plain, Pesche created what is considered the first surviving photographs of Persepolis.

Visual Differences and Pesche's Contribution

The photographs demonstrate a completely different landscape compared to what modern visitors see. A significant part of the ancient complex remained buried under layers of earth and debris. Among the most noticeable differences, the eastern staircase of the Apadana palace, which is today one of the defining architectural features of Persepolis, had not yet been excavated and was therefore absent from Pesche's pictures.

Pesche is recognized as the first photographer to systematically document a number of important archaeological sites in Iran, including Persepolis, Pasargadae, and Naqsh-e Rostam. On April 29, 1858, he presented an album of his photographs to Naser ad-Din Shah Qajar. The second collection was sent to King William I of Prussia, and it subsequently ended up in the collection of the Metropolitan Museum of Art in New York, where it remains an important testament to early photography and 19th-century Iran. The museum notes that Pesche's album represents one of the earliest extensive photographic studies of Persian antiquities and landscapes. His pictures were created using the wet collodion process, a technically complex method requiring photographers to prepare, expose, and develop glass negatives while they were still wet, often in difficult field conditions.

Late 19th Century Documentation

Nearly three decades later, Antoine Servuguin, an Armenian-Iranian court photographer of the Qajar era, also captured Persepolis. Known for documenting historical monuments, landscapes, and people of Iran, Servuguin repeatedly visited the Marvdasht plain around the turn of the 20th century. Some of his photographs of Persepolis were taken approximately between 1898 and 1902, recording additional details of the site before large-scale archaeological work began.

Servuguin's photographs, currently held in major international collections, including the Archives of Asian Art at the Smithsonian Institution and other museum archives, are considered valuable historical documents reflecting both Iran's cultural heritage and the appearance of the monuments before large-scale restoration efforts. His work constitutes one of the most complete photographic documentation of the late Qajar period.

Scientific Research and Aerial Photography

The scientific documentation of Persepolis entered a new phase in the early 20th century. In 1931, German archaeologist Ernst Herzfeld, representing the Oriental Institute of the University of Chicago, began the first systematic excavations at the site. Photographer Hans von Busse later joined Herzfeld's expedition to document the archaeological work.

Herzfeld's initial major excavations focused on the Apadana palace. Between 1931 and 1934, archaeologists uncovered most of the eastern staircase from collapsed mudbrick debris. Although gravel had concealed the reliefs for centuries, archaeologists noted that it also served as a protective layer, shielding many carved elements from erosion and decay.

After Herzfeld's departure in 1934, archaeologist Erich F. Schmidt took over the excavations and continued the work until 1939. During two field seasons between 1935 and 1937, Schmidt used his own aircraft to create an unprecedented series of aerial photographs of Persepolis and numerous other archaeological sites across Iran. These images provided researchers with entirely new views of the layout of ancient cities and monuments and were later published in his influential work, 'Flights over Ancient Cities of Iran.'

Chronology and Legacy

The combined work of Pesche, Servuguin, Herzfeld, Schmidt, and their colleagues provides an unparalleled visual chronology of Persepolis, spanning over eighty years. From the first bulky photographs on wet plates of a nearly completely buried monument to systematic archaeological documentation and pioneering aerial surveys—these images remain invaluable historical records illustrating the gradual unveiling of one of the world's greatest archaeological sites through research, excavation, and photography.

archdaily.com.brJuly 21, 10:00

Nereidas House Project: Fragmented Architecture in the Desert Landscape of Baja California

The Nereidas Homes architectural project is situated in the arid landscape of Baja California, near Todos Santos. This development occupies an area of six hundred square meters, distinguished by the presence of sculptural cacti and expansive views encompassing both the Sierra de la Laguna and the Pacific Ocean.

Fragmented Architectural Concept

The design of the house is based on the idea of being fragmented into several architectural pieces. This arrangement aims to ensure privacy for each living unit while establishing an intentional and specific visual connection with the natural surroundings. This approach distributes domestic life across the entire terrain, avoiding the creation of a single closed block.

Space Organization

The structure is organized through private rooms and a shared common area, seeking a balance between the feeling of enclosure and openness within the lot. Individual spaces are designed to focus on carefully framed views, while collective areas extend longitudinally, utilizing the vastness of the landscape for shared use.

Details of Private Units

There are three private units spread across the terrain. Each one functions as a continuous space, where activities such as sleeping, resting, and bathing occur without internal divisions. The curved internal walls open up to three distinct windows, each framing a different section of the landscape and creating varied atmospheres within the same environment. Essential furniture, such as beds, seating, wardrobes, and bathrooms, is integrated into the architectural shell, ensuring that each function maintains its own visual focus, even while being in a unified spatial volume. Access to the roof enhances this vertical experience, strengthening the direct link between the private space, the sky, and the horizon.

Collective Structure and Materials

The main shared area is defined by two intersecting roofs. This space houses an outdoor fireplace with a double height and a circular cascading pool, offering various settings for socializing, dining, and relaxation. Being completely open, this structure maintains a constant visual and spatial alignment with the desert. The overlapping planes create deep shadows, and the changes in height guide movement without relying on traditional partitions.

Sustainability and Aesthetics

The entire building was constructed using pigmented concrete, which serves as both a structural element and a cladding. The rosy tone applied to the material lends warmth to the building, allowing it to reflect changes in luminosity throughout the day and accentuating the contrast with the surrounding vegetation, especially after rain when the landscape takes on a greener hue. Environmental systems were incorporated into the design, making the house completely autonomous (off-grid). Energy is supplied by photovoltaic solar panels, and a thermal solar heater provides hot water. Furthermore, water reuse systems reduce pressure on local resources, and all flora removed during construction was replanted on site, preserving the existing desert ecosystem.

Project Philosophy

Nereidas Homes presents a way of living in the desert that considers architecture as a built condition intended for permanence. In this sense, the residence approaches the notion of a contemporary ruin: a durable structure that supports life while allowing the climate, time, and landscape to act upon it.

archdaily.com.brJuly 21, 09:30

MVRDV wins competition to design the Shift Embassy in Rotterdam

The MVRDV office has been selected to develop the design for the Shift Embassy, a new cultural point of interest intended for the developing district of Waterkant, located in Rotterdam. This international competition was organized by the social enterprise Shift.

Project Concept: Rotterdam ROCKS!

The proposal, named 'Rotterdam ROCKS!', was conceived as a fusion between architecture and landscaping. It integrates various elements, such as exhibition spaces, hotel services, educational areas, public facilities, and ecological infrastructure, all within a publicly accessible building. The central purpose is to support Shift's mission of engaging visitors in environmental and social issues.

Urban Integration and Design

The project is situated in Waterkant, a large urban development on the south bank of the Maas river, which plans to include 3,750 residences, as well as schools, workplaces, cultural venues, and green areas. The design of Rotterdam ROCKS! consists of seven stacked volumes reminiscent of rock formations, arranged around a network of internal and external pathways. The neighboring riverside landscape is extended vertically through landscaped terraces, viewpoints, water mirrors, and public trails, creating a fluid transition between indoor and outdoor environments.

Sustainability and Immersive Experience

The building's facade features porosity, incorporating niches and cavities designed to house vegetation, retain water, and serve as a habitat for urban wildlife. At the heart of the program is The Elysium, a 5,000 square meter immersive exhibition area. This section aims to explore future scenarios using art, narrative, and interactive installations, moving away from traditional exhibition formats. Furthermore, the building will feature a 200-room hotel, classrooms, conference spaces, dining areas, community gathering spots, and an observation deck.

Construction Innovation

The project utilizes recycled steel, low-carbon concrete, bio-based materials, and circular construction methods. There is also an exploration of robotic manufacturing and large-scale 3D printing technologies. The architectural team proposes documenting the construction process as a continuous experiment, allowing the building to function as a laboratory for low-carbon techniques and material innovation. Environmental systems will be visible to visitors, and a monitoring system will display real-time data on energy use, water cycles, biodiversity, vegetation, and material performance, establishing the building as a testing ground for sustainable practices. This methodology aims to allow the building to adapt as technologies, regulations, and environmental knowledge advance.

Selection Process and Next Steps

The competition for the Shift Embassy began in January 2025 as an international process divided into two phases, inviting multidisciplinary teams to present ideas that combined architecture, engineering, ecology, and cultural programming. After an initial selection of 80 proposals, five teams advanced to the final phase: Urban Ecosystem, Heatherwick Studio, Mecanoo, MVRDV, and Office for Political Innovation. In March 2026, after verification and preliminary design, Shift chose the team led by MVRDV, in collaboration with Arup, Arcadis, DGMR, Studio Bertels, and Joris Laarman Labs, as the winner. The detailed project is currently being presented before the public participation scheduled for the autumn of 2026.