The first Iranian to graduate from the École des Beaux-Arts in Paris was Mohsen Foroughi. A leading architect and educator who played a key role in the professionalisation of architecture in Iran, Foroughi maintained his status as a respected national and international figure in the architectural discipline from the early 1960s until the Islamic Revolution of 1979. Through a focused investigation of Foroughi’s teaching and architectural works from the 1930s to the 1960s, this article foregrounds a convergence that occurred between Beaux-Arts practices and the Iranian will towards a nationalist expression. This convergence was not simply an exportation of the Beaux-Arts methods abroad; it explicitly began in the setting of the Beaux-Arts in France where such a convergence found a productive ‘testing ground’ before its eventual transfer to Iran. The article’s findings are based on archival research conducted in Paris and Tehran, and a close comparative analysis of Foroughi’s student projects at the École with his significant architectural projects in Iran. What emerges is a surprisingly subtle transformation of architectural expression from one context to the other, made possible by the particular operations of the Beaux-Arts methods within the Iranian context.

中文翻译：

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二十世纪伊朗美术学院的遗产：Mohsen Foroughi 的建筑

第一位从巴黎高等美术学院毕业的伊朗人是 Mohsen Foroughi。作为在伊朗建筑专业化中发挥关键作用的领先建筑师​​和教育家，从 1960 年代初到 1979 年伊斯兰革命期间，Foroughi 一直保持着他在建筑学科中受人尊敬的国家和国际人物的地位。通过对 Foroughi 的重点调查从 1930 年代到 1960 年代的教学和建筑作品，本文展望了美术实践与伊朗对民族主义表达的意愿之间的融合。这种融合不仅仅是将美术方法输出到国外；它明确地始于法国美术学院的背景，在那里，这种融合在最终转移到伊朗之前找到了一个富有成效的“试验场”。这篇文章的发现基于在巴黎和德黑兰进行的档案研究，以及对 Foroughi 在巴黎高等学校的学生项目与他在伊朗的重要建筑项目的仔细比较分析。出现的是一种令人惊讶的建筑表达方式从一种环境到另一种环境的微妙转变，这是通过伊朗语境中美术方法的特殊操作而成为可能的。