Azadi Cultural and Artistic Complex

After the victory of the Islamic Revolution and its transfer to the Ministry of Culture and Islamic Guidance, this complex resumed its activities. In 2003 , the Rudaki Foundation established the Islamic Revolution Cultural and Artistic Center at Azadi Tower with the aim of introducing Iranian-Islamic culture and art to the new generation and recognizing artists and intellectuals who have worked to reflect various aspects of the Islamic Revolution.

Azadi Tower is considered one of the world’s memorial structures. The history of its construction dates back to 1966 when a competition was held among Iranian architects to design a tower symbolizing “Modern Iran.” The winning design was by a 24-year-old architect , Hossein Amanat , a graduate of the University of Tehran’s Faculty of Fine Arts. Construction of the square and tower began in early 1969 and, after 30 months of round-the-clock effort, was completed on October 16, 1971 , and inaugurated on January 16, 1972 . Other parts of the complex were completed in 1974 , and on March 17, 1975 , it was registered as a National Heritage Site under registration number 1008.

 Architectural Features of Azadi Square 

Azadi Tower is set within a square. The elliptical-shaped land measures 550 meters east-west and 450 meters north-south, covering an area of over 190,000 square meters , making it the largest square in the capital. In summary, the design of the square’s green space reflects concepts of similarity, symmetry, formal evolution, and the multiplicity and unity of Iranian architecture. The green space design, with its irregular hexagonal patterns that converge toward the tower, evokes the geometry of the patterns beneath the dome of Sheikh Lotfollah Mosque in Isfahan. The tower is located in the eastern third of the square, stretching the square’s facade toward western Tehran, the entry point for travelers to the city. This elongation makes the path from the square’s entrance to the tower feel longer, enhancing the tower’s grandeur, much like the placement of a “kiosk” at the end or near the end of Persian gardens, which extends the garden’s main axis. The axial pattern of the fountains along the east-west axis is a professional interpretation of the essence of Persian gardens, simultaneously forming the main axis of symmetry for the square and the tower. This main axis alone suffices to evoke the concept of a Persian garden, but due to the extension of streets in the four cardinal directions, the north-south axis also serves as a secondary axis intersecting the main one, presenting a modern interpretation of a four-part Persian garden. Azadi Square is connected to surrounding streets via an underground passageway on the eastern side of the tower. The fractures in the walls and ceiling of this underpass evoke the geometry and arches of Iranian bazaars for visitors.

 Azadi Tower Profile 

• Designer and Supervisor : Engineer Hossein Amanat
• Project Manager : Engineer Iraj Haghigi, in collaboration with Engineer Kamarei
• Contractor: Engineer Pour-Fathi, in collaboration with Engineer Iranpour and Engineer Nik-Kheshal
• Landscape Design : Engineer Shafaei – Engineer Ghaem Maghami
• Tower Facilities : Engineer Katiraei
• Technical Facilities : Engineer Mohtashami – Engineer Sasan
• Electrical Facilities : Engineer Okhravi
• Stone Cutting : Ghanbar Rahimi – Ghaffar Davar Panah – Master Mahmoud
• Stone Measurement and Calculations : Engineer Tokhmpash
• Carpenter : Master Mahmoud Shojaei
• Labor Management : Mr. Ghomshei

 Architectural Features of Azadi Tower’s Exterior 

The architecture of Azadi Tower is deeply rooted in Iranian architecture, identity, and culture, blending elements from the Achaemenid, Sassanian, and Islamic periods. It incorporates symbols and inspirations from ancient Iranian structures. The beauty of Azadi Tower lies in its harmonious fusion of ancient Iranian architecture with Islamic architectural elements in a modern structure. The tower’s design showcases many traditional Iranian and Islamic arts, including ancient arch construction, Seljuk and Ghaznavid-era fortifications, turquoise Iranian tilework, peacock-patterned tiles, intricate concrete ribbing, geometric patterns, muqarnas (stalactite-like decorations), skylights (roshandans), mosque domes, and the use of traditional Iranian windcatchers in the tower’s floors.

The roof plan of the tower features an octagonal shape, a form with a long history in Iranian architecture, seen in famous structures like the Gonbad-e Soltaniyeh in Zanjan and the Kakh-e Khorshid in Kalat Naderi. The octagonal form of Azadi Tower is inspired by these ancient buildings.

The structure of the tower’s apex, which begins above the base and surrounds the dome at the top, is inspired by the Seljuk and Ghaznavid-era tower tops, such as the Ala al-Din Tower in Varamin. The building’s geometry is rectangular, rotating on its four bases and culminating in a dome, visible only from inside the tower. The internal structure and base of this dome form the ceiling and walls of the tower’s third floor.

The main bases of the structure are built within a rectangle measuring 63 meters in length and 42 meters in width . Due to its proximity to Mehrabad Airport and height restrictions, Azadi Tower stands 45 meters tall . The parallel and elongated lines of the bases evoke Achaemenid architecture, while the bases twist in a unique geometry to support the main arch. The foundation of the tower is such that each base extends nearly 7 meters into the ground , with precise three-dimensional coordinates calculated for each base to ensure the tower’s stability. To expedite construction, each base was assigned to a separate contractor— Rabiei, Khodaei, Shida, and Yazdi —with a prestigious prize awarded to the winning contractor.

These bases connect at the top to form four arches. The tower’s main plan is derived from the chahartaq (four-arched) structures of ancient Iranian architecture, such as the Chahartaq of Niasar in Kashan from the Sassanian era.

The elliptical arch on the east-west facade is inspired by Sassanian-era elliptical arches, such as the Taq Kisra (Arch of Ctesiphon), reflecting pre-Islamic architecture, while the pointed arch above it symbolizes Islamic architecture. A prime example of this architectural evolution from pre-Islamic elliptical arches to Islamic pointed arches can be seen in the Tarikhaneh Mosque in Damghan (2nd century AH). Both styles are evident in Azadi Tower, with the transition between the elliptical and pointed arches beautifully highlighted using mosaic tiles and geometric patterns, particularly with turquoise tiles reminiscent of mosque entrances and Islamic-era arch decorations. These peacock-patterned designs are located on the east-west facade, uniquely converging beneath the tower.

Azadi Tower is one of the first structures in Iran to use a massive volume of reinforced concrete, with its main framework made of reinforced concrete and Iranian stones and materials, making it highly earthquake-resistant.

Initially, the exterior was planned to be white. After evaluating available stones, Jowsheqan white marble was chosen. Tests for strength and durability, following A.S.T.M. standards (American Society for Testing and Materials), were conducted on this stone and similar samples, confirming its suitability. Stone-cutting machinery was set up on-site to expedite measuring, template-making, cutting, and finishing. The coordinates of various points on the exterior, derived from the arch formulas, were provided to Iran’s Industrial Management Organization to calculate the dimensions of each stone. These measurements were converted into wooden templates, which were then given to skilled Iranian stonemasons.

The stone cutting was executed by master stonemasons, the late Ghanbar Rahimi and Ghaffar Davar Panah . The stones used range from 7 to 40 centimeters in thickness , with some reaching 6 meters in length . Behind the exterior stones, 25-centimeter-thick reinforced concrete was used, with the stones bonded to the concrete and stainless steel. The rough surface behind the stones prevents slipping. Due to the expansion and contraction of stones and concrete in summer and winter, each stone is sealed with a flexible joint filler, Rubber Chalk 2000 , to prevent cracking.

Exterior of Azadi Tower 

The exterior of Azadi Tower features 25,000 pieces of white marble from the Jowsheqan quarries in Isfahan , cut into 15,000 different shapes with complex surfaces. The main doors are made of Hamedan granite and weigh nearly 7 tons . Additionally, the stones used for the flooring and fountains were extracted from the Morvarid quarry in Kurdistan .

As mentioned earlier, concrete surfaces are used in various parts of the structure. In some halls and floors, exposed concrete is used, while others feature rough concrete or hammered concrete with various patterns and textures. In some sections of the structure, quartz aggregate is incorporated into the concrete. When hammered, the quartz stones embedded in the concrete shimmer under the natural light streaming from the tower’s roof, adding a poetic touch to this magnificent structure.

 Interior of Azadi Tower 

Entrance Passageway

In the eastern courtyard of Azadi Tower, 6 plans of the tower’s main design are displayed as concrete inscriptions on the walls, inspired by ancient Iranian reliefs. These include:

– A cross-section of Azadi Tower showing its arched structure and overall exterior appearance.

– The plan of the tower’s four bases.

– The muqarnas (stalactite-like decorations) beneath the tower’s arch.

– A cross-section of the tower’s upper part and its dome.

– The plan of the square, featuring three rows of twenty hexagons.

– The plan of Iran Sara , used as an underpass on the eastern side.

 Iranology Hall 

The Iranology Hall features a miniature model of Iran’s map from the 1960s , created by the Art Centrum (Center of Fine Arts in Czechoslovakia). The purpose of this space is to introduce visitors to Iran’s history, architecture, culture, industry, and geography. In the early 1960s, Iran consisted of 14 provinces : Central, Khorasan, Isfahan, East Azerbaijan, Khuzestan, Mazandaran, Fars, Gilan, West Azerbaijan, Kerman, Kermanshah, Coastal Ports and Islands of the Oman Sea, Sistan and Baluchestan, and Kurdistan. By the end of the decade, 9 more provinces were added: Hamadan, Lorestan, Semnan, Chaharmahal and Bakhtiari, Ilam, Boyer-Ahmad and Kohkiluyeh, Zanjan, Yazd, and Bushehr, bringing the total to 23 provinces . The hall’s map displays 17 provinces .

The map and model of Iran’s vast territory form the centerpiece of this 1,122-square-meter hall . Visitors move along a rail on the map, starting from the southeastern side of the model, where they explore symbols and images of Iran’s historical, religious, and industrial centers, as well as its diverse geographical and cultural features, before moving toward the northeastern side of the model. In the southern section, beautiful pools represent the Persian Gulf and part of the Oman Sea .

Among the symbols and volumes of the entrance section, the following symbols can be mentioned:

Hormozgan Shipping; Sistan and Baluchestan Wheat Silo; Kerman Handicrafts (carpet weaving, engraving, block printing); Hamun Lake; Jazmurian Lake; Khuzestan Steel Industries; Zoroastrian Tower of Silence (Dakhma) and Yazd Jame Mosque; Power Plant and the Holy Shrine of Imam Reza (AS) in Mashhad.

In the northern part of the Iran map model, there is a captivating water feature adorned with tilework and stonework by Iranian artists, symbolizing the Caspian Sea. A large and beautiful aquarium, 2 meters in height, is located in the northern part of the Iran model, along with 4 wall-mounted aquariums, displaying various decorative fish representing the ecosystem of this region. Visitors, after passing through this hall, will reach the “Hall of Time.”

 Hall of Time

In this section, visitors will experience a brief journey through the history and civilization of Iran. This space consists of several concentric circles that depict the passage of time from small to large.

• First Circle (Black Circle at the End): The zero point of Iranian civilization.
• Second Circle: Represents the Paleolithic era, around 20,000 years ago, when cave dwelling began on the Iranian Plateau.
• Third Circle: A fire altar as a symbol of Zoroastrianism.
• Fourth Circle: The columns of Persepolis and cuneiform scripts from the Achaemenid era, the greatest empire in the history of ancient Iran.
• Fifth Circle: On the left, the symbol of the lotus flower or water lily, representing peace, purity, and the innocence of Iranians.
• Sixth Circle: On the left, a man with a clenched fist is seen, symbolizing the people of Iran who are always present on the stage. Outside the circle on the left, an eagle symbol represents the vision and insight of the Iranian people. On the opposite side, a lion symbol signifies the bravery of the Iranian people.
• Last Circle: The tulip flower, symbolizing the martyrs of Iran and the Islamic Revolution.
• In the center of the circular passage of time, there is a glass sphere that in the past was a fire altar and symbolized Zoroastrianism.

After visiting this hall, visitors move from the northwestern part of the Iran map model toward the southwestern part.

Among the symbols of this section, the following can be mentioned:

Rice farming and caviar of Gilan; Mazandaran textiles; Lake Urmia; Tabriz Machine Manufacturing and Tractor Manufacturing; Zanjan Steel Manufacturing; Qom Salt Lake and the Holy Shrine of Hazrat Masoumeh (SA); Kurdistan Cement Factory; Kermanshah Petrochemical Industries; Isfahan Jame Mosque and Steel Mill; Persepolis and Hafeziyah of Shiraz; Dez Dam Hydroelectric Power Plant in Andimeshk; Abadan Oil Refinery; Bushehr Nuclear Power Plant.

 Simulation Hall (Mini Cinema)

The Simulation Hall is located on the eastern side of the entrance to the Azadi Complex, adjacent to the Iranology Hall. The Rouhani Cultural and Artistic Foundation, utilizing the expertise of domestic engineers, inaugurated the Simulation Cinema Hall on February 1, 2010. This hall, equipped with state-of-the-art software, facilities, and technology, features three screens and has the ability to create a virtual film environment for the audience while watching.

The Simulation Cinema, with dimensions of 8 x 10 meters, includes a cyclorama screen measuring 8.5 x 3.5 meters and is furnished with 51 seats to host the audience and visitors of this complex. Each seat is mounted on jacks, and the motion effects of the encoded films are directed to the corresponding seats via sensors during playback. This allows the viewer to fully experience the sensations of the film scenes and become virtually immersed in the film’s environment.

 Reception Hall

The entrance door of this museum is made of concrete and weighs 750 kilograms. Among its architectural features are its beautiful ceiling and walls, which are made of white concrete. The quartz granules used in them, after chiseling, were manually designed with beautiful patterns, creating a unique appearance and giving the concrete a special shimmer and transparency. This type of design was implemented for the first time in the country at the Azadi Tower. The Reception Hall covers an area of 210 square meters.

In the past, this hall served as a pavilion for special guests entering Tehran. After the victory of the Islamic Revolution, it has been used for ceremonial events, various meetings, specialized educational and research workshops, press conferences, and also for hosting periodic exhibitions. For example, the “Meteorite Museum” can be mentioned, where over 1,200 meteorite pieces from the personal collection of Mr. “Hojat Kamali” were displayed in various sizes and densities for visitors to see.

Passage of the Ancestors

The main entrance of the complex is known as the Passage of the Ancestors. At the beginning of the path, there are two stone doors, each weighing 3.5 tons, made of Hamadan granite, with a total weight of 7 tons. The opening and closing mechanism of these doors is mechanical and gear-based, allowing them to be easily opened and closed by turning a handle. The Passage of the Ancestors covers an area of 170 square meters. Upon closer observation of the architecture of this space, it becomes evident that the ceiling height decreases step by step. This design is reminiscent of honoring and paying respect to individuals or dignitaries who were present in the courtyards of historical sites.

At the entrance of this hall, copies of the original architectural plans of the tower, designed by Hossein Amanat, can be seen. Additionally, in this passage, there are 4 display cases with museum functions, which currently focus on the history of the tower and include the following:

1. The Islamic Revolution

This display case showcases important events related to the Azadi Tower after the Islamic Revolution, such as images and handwritten notes from the visit of the Supreme Leader to the Azadi Tower in 1985 (during the Sacred Defense Exhibition), images of Imam Khomeini, the presence of revolutionary people in Azadi Square, photos from the Fajr Festival and Sacred Defense events, images of Ayatollah Jannati’s visit to the tower, letters, and invitations for the reopening of the Azadi Tower after the Revolution, and more.

2. History of the Tower

This display case relates to the early days of the tower’s construction. It includes images from the construction period, an overview of the tower’s architectural plan, photos of the four main builders of the Azadi Tower (Hossein Amanat, the 24-year-old designer; Mohammad Pourfathi, the 51-year-old builder; Iraj Haghighi, the 21-year-old workshop supervisor; and Ghanbar Rahimi, the 51-year-old master stone cutter of the Azadi Tower); an image of Phase 3 of the Azadi Tower (an unfinished project); images of structures that inspired the design of the Azadi Tower; letters, visitation statistics, group visitation requests, rare books, contracts for the audiovisual hall, and more.

3. Office Equipment

This display case is dedicated to some of the old machinery and office equipment of the Azadi Tower. It includes a time card machine, typewriters, regular and central telephones, a radio, a sound recording device, an old television, seals, inkwells, pens, and more.

4. Antique Tableware:

This display case is dedicated to antique tableware and reception sets of the Azadi Tower, which feature gold-embossed designs of the Azadi Tower and were produced in Czechoslovakia. It showcases two types of reception sets: one for regular use and another for special guests, as well as an antique samovar used for hospitality.

The Ancient Hall (Main Museum) 

The Ancient Hall is located directly beneath the Azadi Tower and supports the weight of the tower without any columns. This is due to its unique architecture and the use of trusses and vaulted ceilings in this section. In the four corners of the hall, the four main pillars of the Azadi Tower can be seen, which consist of two elevators and two staircases. These are arranged in a cross-shaped and symmetrical pattern within the rectangular space. The black granite flooring of the museum was extracted from the Morvarid Mine in Kurdistan, and the Ancient Hall covers an area of 346 square meters.

On both sides of the hall, two 3.5-ton stone slabs made of Hamedan granite, resembling the entrance doors of the Azadi Complex, are placed.

The elevators in the two corners of the hall were manufactured by the “Schindler Company of Switzerland,” and since their installation, the motors and technical equipment of these elevators have remained unchanged.

In the center of this space stands a statue of Engineer “Mohammad Pourfathi.” He was born in 1918 and passed away in 1991. He was the head of the MAP Company and the main contractor for the construction of the Azadi Tower.

In this space, there are 25 display cases made of triple-layer bulletproof glass. In the past, royal jewels were displayed in these cases. Currently, this space is used periodically throughout the year to exhibit museum artifacts.

Among the collections displayed in this Ancient Hall are the “Stone and Gem Museum” of Engineer “Nader Sanaani,” featuring 370 types of stones and gems, as well as the “Camera Museum” from the personal collection of Mr. “Mohammad Ali Jadid-ol-Eslam.” The mentioned collection was considered the largest camera collection in the Middle East, and in this museum treasury, visitors could observe the evolution of photographic, military, and hunting cameras from their beginnings to the modern era.

 Floors of the Azadi Tower 

Access to the rooftop of the tower is possible via two elevators and two staircases with a total of 286 steps, located in the four corners of the Ancient Hall. In the four corners of the hall, the four main pillars of the Azadi Tower can be seen, which consist of two elevators and two staircases. The elevators and staircases are arranged in a cross-shaped and symmetrical pattern within the rectangular space. The elevators are located in the northeast and southwest corners, while the staircases are in the southeast and northwest corners.

 Staircases

In the Azadi Tower complex, three types of Iranian staircases have been used.

1. The first type of staircase is inspired by the steps of traditional Iranian water reservoirs (Sardabeh) and ancient water storage systems. These staircases slope gradually from the main museum (Ancient Hall) down to ground level (level with the square).
2. The second type of staircase features low-rise steps similar to those of the Apadana Palace (Persepolis). The height of these steps ranges between 12 to 14 centimeters. This height minimizes fatigue for visitors, making it easier for them to climb the stairs.
3. The third type of staircase resembles those found in Isfahan’s mosques (such as the Monar Jonban).

 Mezzanine Level

The space between the elevators in the body of the Azadi Tower is referred to as the mezzanine level. Due to the slope of the tower’s base, it was not feasible to design and install an elevator that could reach the fourth floor without interruption. Therefore, the elevators were designed to reach the highest accessible point in the tower’s base, and another elevator is used to access the upper floors. Between the floors, there is a corridor that serves as the path or gap between two adjacent pillars. This space is designed in the style of ancient water reservoirs. Within this space, there is an elevator machinery room housing the old elevator motor.

 Second Floor: Taq Kisra 

The second floor of the Azadi Tower is located 23 meters above the square level. This floor is designed on the main arch of the Azadi Tower, which is inspired by the architecture of Taq Kisra or the Arch of Ctesiphon (located in modern-day Baghdad) from the Sassanian era. The sides of the main arch form the eastern and western walls. The most notable aspect of this section is the intricate and unparalleled execution of the curved surfaces of the building. Inside this arch, there are diamond-shaped windows inspired by Islamic muqarnas designs found in mosque arches. Transparent glass panels allow light to enter the space while also reflecting light from the inside outward. Behind the sloping walls of this floor, peacock-shaped tilework of the tower is visible from the outside.

The design of the various spaces in the tower is such that none of the spaces are confined. Through openings and gaps, they maintain a visual connection with previous or subsequent sections, as well as with the sky and the outside of the tower. Looking at the ceiling, one can observe the “Shamsa” design, one of the symbols of Iranian-Islamic architecture. One of the key principles of Iranian architecture is symmetry, which is evident throughout the Azadi Tower. However, on the second floor, this symmetry is executed in reverse.

 Third Floor: Sky Gallery 

The third floor of the Azadi Tower is located 33 meters above the square level. Upon entering the third floor, a separating wall becomes visible. Based on Iranian-Islamic architectural patterns, such walls were designed to divide the interior and exterior spaces to maintain the privacy of the home. Thus, in this floor’s layout, the traditional architectural concept is fully preserved, and due to the placement of the retaining wall, the staircases and elevators are not visible. Visitors to this floor, when looking at the ceiling, will see the interior of the “Rok Dome,” adorned with beautiful concrete vaulting. At its center, a stunning skylight with a Shamsa design is placed, providing light to the first, second, and third floors of the tower. The vaulting designs in this dome are inspired by Islamic-era vaulting, particularly flourishing during the Safavid era (12th and 13th centuries AH), with beautiful examples visible in structures such as the Vakil Mosque in Shiraz (12th century AH) and the Amin al-Dowleh Dome in Kashan (13th century AH). The walls and ceiling of this floor are made of white reinforced concrete mixed with fragments of the tower’s façade stones, a technique used for the first time in Iran in this tower. The Sky Gallery periodically hosts works by visual artists.

 Fourth Floor: Rok Dome 

The fourth floor of the Azadi Tower is located 39.5 meters above the square level. One of the most beautiful features of this floor is the turquoise-colored tiled dome that emerges from the octagonal rooftop, known as the “Rok Dome” (meaning cone). This dome is inspired by the conical domes of ancient structures and Imamzadehs, such as the Shush Daniel Dome, the Tomb of Khayyam, the Tomb of Baba Taher, the Tomb of Avicenna, the Soltaniyeh Dome, the Toghrol Tower, the Gonbad-e Kavus, and others.

In fact, the Rok Dome begins from the third floor of the tower and extends to the rooftop, reaching a height of 46.25 meters. This floor provides visitors with a good view of the surrounding area of the Azadi Tower through hexagonal windows. These windows are located on the eastern and western sides and are inspired by the architecture of watchtowers and guard posts in citadels, forts, and castles from the Seljuk era. Additionally, around this floor, there are tall, narrow vertical rectangular slits inspired by windcatchers found in hot regions of the country, such as Yazd and Kerman. The purpose of these slits is to allow airflow into the space, creating natural ventilation. A drainage system is designed at the base of the dome to direct rainwater from the dome’s surface through grooves and downspouts. Above the hexagonal windows on the tower’s exterior, turquoise-colored tilework is visible, reminiscent of muqarnas from Islamic architecture.

 Rooftop of the Tower 

As mentioned, the rooftop plan of the tower features an octagonal shape. On the northern and southern sides of the Azadi Tower’s rooftop, there are two semicircles symbolizing the watchtowers of Iranian castles. From a height of 46.25 meters above the square level, a beautiful view of the city can be observed.

Mirror Hall (Diorama) 

This hall, covering an area of 296 square meters, is located after the Ancient Hall. On its sides, 12 alcoves have been designed, which, through three-dimensional displays and coordinated colorful images, showcase the subjects and activities carried out in the country in the fields of industry, culture, environment, economy, and more. Due to the expansive and visually appealing space of this hall, it is suitable for hosting visual arts and handicraft exhibitions by artists from across the country, and it periodically welcomes enthusiasts throughout the year. The reason for naming this space is that each of these display cases has mirrors on both sides, creating an infinite and continuous reflection for visitors.

1. Education

This display case currently showcases the book *”The Ideals of the Islamic City from the Perspective of the Quran”* and highlights the role of religious concepts in the Iranian-Islamic educational system.

2. Persian Gulf

This display case showcases the shipping industry, petrochemicals, and the advancements achieved in these fields. In the background, cities like New York, France, and other European and Western countries are depicted, representing the export of Iranian oil to these nations.

3. Environment

This display case symbolically represents the soil of Iran, designed in the valuable color of gold to signify the worth of Iran’s land. Inside the alcove, various animal species native to the country are displayed as another symbol.

4. Culture and Art

A globe featuring a hadith from Prophet Muhammad (PBUH) is displayed, which states: *”If knowledge were in the sky, men from Iran would reach it.”*

5. Azadi Monument

This alcove features a model of Azadi Square and its surrounding area.

6. Water and Life

In the front section, there is a symbol of early human history. Further ahead, humans are represented as small spherical figures living together in peace and harmony. Modern constructions, dams, advanced structures, and alongside them, mountains, trees, rivers, and the turning on and off of lights as symbols of day and night are placed here to represent life.

7. Agriculture

In this space, the soil of Iran is symbolically represented in the golden color of gold. Sloped agricultural lands, raindrops, sunlight, and a rainbow symbolizing traditional or rain-fed agriculture are depicted. In the right corner of this space, advanced tools of this field are displayed. Naturally, Iran is a four-season country, and its diverse agricultural products are one of its unique features. Therefore, symbols of agricultural products are placed in the front section of this space. A overflowing cup of water symbolizes purity and the essence of life, representing water as the source of life.

 

8. Sports

This section showcases the Azadi Stadium sports complex. On the left, there is a countdown labeled *”THE OLYMPIC GAMES TEHRAN 1984,”* referring to the Olympic Games planned to be held in Tehran and Azadi Stadium in 1984. However, the Asian Games of 1974 were held in this stadium. The Olympic torch and mythological motifs of Iran are visible in this section, and above it, runners are depicted as symbols of the mother of all sports in the Olympics.

9. Urban Development

Progress in urban development is symbolically represented here through the introduction of wide and tall modern architectural cityscapes.

10. Caspian Sea

This sea is known worldwide as the Caspian Sea. The sturgeon, or Iranian black gold, is displayed as a symbol in this section. The underwater world and marine creatures are visible, as well as the beautiful shores of the Caspian Sea and the surrounding mountain ranges.

11. Industries

This display case showcases the cycle of industry. Industries such as Isfahan Steelworks, shipbuilding, machinery manufacturing, textiles, and various other industries with a long history in Iran are displayed as symbols of the progress achieved in these fields. On the right side of this alcove, a copper-colored globe symbolizing nuclear energy is visible. A display screen inside this space was intended to show films about each of these industries.

12. Iran Land

A statue or model of the Cyrus Cylinder, known as the Charter of Human Rights, is displayed here. During the inauguration of the Azadi Tower, the Cyrus Cylinder was unveiled for the first time at the Azadi Tower, having been temporarily transferred from the British Museum. After the inauguration, it was returned to the British Museum.

Hall of Knowledge 

The Hall of Knowledge consists of two symmetrical circular halls, whose ceilings are designed and constructed using a blend of traditional and modern architecture, featuring dome-like arches inspired by traditional Iranian corner designs (gosha-sazi) and Islamic-era vaulting. The hall covers an area of 188 square meters. The architecture of the Hall of Knowledge is inspired by the architecture of ancient Iranian bazaars. The ceiling design resembles the open stalls of a bazaar. On both sides of this hall, two sets of circular seating arrangements are visible.

The purpose of these seating areas is to provide a space for welcoming visitors to the complex and serving as a waiting area for audiences of artistic programs in the amphitheater. Each of these seating areas includes several display screens that show events related to the Azadi Tower complex. In this hall, there are two film projectors, which were previously used in the complex’s cinema and were manufactured by the “Zeiss Ikon Company of Germany.” Their age is approximately the same as the inauguration of the Azadi Tower—around 60 years.

 Main Performance Hall (Amphitheater): 

The amphitheater of the Azadi Tower complex, with its extraordinary design, is a multipurpose space used for screening films, theatrical performances, music concerts, television productions, conferences, and various other events.

This hall has a unique design, with its floor located 15 meters below the square level. The total stage area is 300 square meters, and the usable dimensions of the multi-vision hall for artistic groups are 10 x 17 meters, with a height of over 7 meters. This tall height allows for special designs in vertical theatrical mise-en-scène and the creation of sets for television programs and music groups.

The hall, with 36 seating sections in 8 rows (288 seats) and an additional 24 seats in the VIP section, is considered one of the largest black box theaters in Iran. The glass ceiling of the hall features a beautiful depiction of the Anzali Lagoon, painted using the vitrail technique, with interior lighting adding extra beauty to the hall. The hall is designed in a “transparent” style, and beneath the audience seating, images of historical artifacts from pre- and post-Islamic eras are visible. The hall is fully acoustically designed, giving the audience a sense of closeness and complete immersion in the artistic performances.

At the end of the hall, there is a curtain adorned with Achaemenid motifs and gold embroidery, adding a beautiful touch to the amphitheater space.

Additionally, 46 slide images projected onto the screens of 12 columns, ranging in height from 3 to 7 meters and suspended movably around the hall, all display a single unified theme. The lighting techniques, Dolby Surround sound, and laser displays further enhance the variety and appeal of the performances. All these features make the Azadi Performance Hall a rare and unique venue.

The Azadi Tower hall, with its ancillary spaces such as 4 makeup and dressing rooms, a VIP room for directors and special guests, and a beautifully designed corridor, is one of the most standard spaces for hosting cultural and artistic events.

Large Studio 

The large studio is located on the first floor, behind the stage of the main hall (amphitheater) of the Azadi Tower. With dimensions of 13 x 16 meters, this studio is considered one of the largest in Tehran and is used for rehearsals by large groups of theatrical and musical performers. The 4-meter height of this studio provides theater directors with the capability to design vertical movements and mise-en-scène for theatrical performances.

 Small Studio 

The small studio is located on the ground floor, behind the stage of the main hall (amphitheater) of the Azadi Tower. It is used for rehearsals by smaller groups of artists in theater and music. The length of this studio is 10 meters, its width is 9 meters, and its height is over 2.5 meters.

 Ethnic Gallery 

This section is designed as a semi-circular corridor comprising 8 large display cases, showcasing Iranian handicrafts and ethnographic objects. Each of these display cases represents the economic, industrial, and artistic activities of Iran’s ethnic groups. Throughout the year, these display cases are used to exhibit valuable Iranian handicrafts such as marquetry and kilim weaving, as well as, in some cases, traditional Iranian clothing (from the past to the present). Additionally, the walls of this gallery are used to host periodic visual arts exhibitions.

 Café Gallery (Park Gallery): 

This gallery, covering an area of 210 square meters, features a delightful view, lush greenery, and a captivating water feature. It is the only part of the Azadi Complex that utilizes natural light in its design. The Café Gallery is used to host visual arts, handicrafts, and decorative arts exhibitions by artists from across the country. The seating capacity of this hall is 80 people.

 Cultural Hall 

In the past, this hall housed a library containing over 11,000 books on topics such as architecture, linguistics, history, literature, English, and French. Currently, this museum stores old audiovisual equipment, handicrafts, office tools, and other historical items from the complex.

 Art Collection (Treasure of Paintings) 

The artistic collection of the Azadi Tower Museum includes rare and valuable works by Iranian and foreign artists, which have been part of the museum’s collection since the establishment of the Rouhani Foundation and have grown over time. The Azadi Tower collection contains over 400 works, including 316 paintings in various styles and schools by masters such as Kazem Chalipa, Hossein Mahjoubi, Mahmoud Zanganeh, and Reza Hedayat, as well as calligraphy works by masters such as Gholamhossein Amirkhani, Javad Bakhtiari, and Mohammad Heidari. Additionally, works of “Naghashi-Khat” (painting-calligraphy) by masters such as Khosrow Roshan, Hamid Varzandeh, and Afshin Najafi are periodically displayed throughout the year for art enthusiasts and visitors to the Azadi Tower complex. This collection also includes miniature paintings by masters such as Mohammad Bagher Aghamiri and Mehsa Rosta, along with numerous other artistic works such as handicrafts, machinery, office tools, dolls, tableware, and musical instruments.

 Labyrinthine Spaces 

Given the extensive area of over 4,000 square meters of the Azadi Tower Cultural and Artistic Complex, along with its numerous and diverse exhibition spaces and visually stunning galleries, as well as the labyrinthine layout and the interplay of light and shadow throughout its corridors, technical facilities, and the contrasts of light, color, and texture in the staircases and floors, all these features create a suitable visual capacity for filmmakers and television producers. Over the years, they have utilized this space for producing their works.