دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 3 2024 12 21 The Place of Design and the Role of Designers in Traditional Glass Workshops in Tehran in the 1390s جایگاه طراحی و نقش طراحان در کارگاه‌های شیشه‌گری سنتی تهران در دهه 1390خورشیدی 7 20 730127 10.22034/rac.2025.2036353.1082 FA هدی ابراهیم‌پور مالمیر کارشناسی ارشد صنایع دستی، گروه صنایع دستی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0009-0000-9676-4395 مهران هوشیار دانشیار، گروه صنایع دستی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0000-0001-8166-0294 صفورا مقصودی دکترای پژوهش هنر و مدرس گروه صنایع دستی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. Journal Article 2024 03 05 Nature has long stood as the foundational source of inspiration across all branches of traditional crafts. The human inclination toward processing natural materials<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—guided by a profound admiration for the forms, patterns, and structures observed in the natural world<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—has led to the creation of handmade artifacts that mirror this beauty while serving functional purposes. This intrinsic relationship between human creativity and nature is one of the main reasons traditional crafts, as a hybrid of art and industry, have endured for thousands of years. These crafts represent a vast and intricate universe, encompassing an extraordinary diversity of materials, techniques, and products. Each specific discipline within this broad realm unfolds a new dimension, offering endless possibilities for exploration and expression. Glass, among all natural materials, holds a particularly unique and captivating position due to its distinctive visual and physical properties<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—transparency, reflectivity, fluidity when heated, and solid brittleness when cooled. These characteristics, when thoughtfully explored and utilized, allow artists and artisans to produce truly remarkable works of art. However, creating glass pieces that authentically reflect their essence and full potential is not a simple undertaking. It requires not only high-quality raw materials but also designs that respond appropriately to the nature of glass, along with specialized technical knowledge that aligns with current production standards and aesthetic sensibilities. In today’s interconnected world<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—where access to information, resources, and global design trends is more readily available than ever before<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—there seems to be less justification for the stagnation or regression of glassmaking as a traditional art form. Nevertheless, a noticeable decline in both the quality and innovation of glass products in Iran’s traditional workshops suggests that the challenges run deeper than mere material shortages or logistical limitations. While international sanctions and restrictions on importing essential refining agents and high-performance refractory materials are undoubtedly part of the problem, they do not fully account for the evident shortcomings observed in the final products. Indeed, a wide range of variables affects the outcome in traditional glassmaking<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—from the composition and design of the furnace and its materials to the selection of raw substances, design processes, production techniques, and marketing strategies. What is particularly striking in many contemporary Iranian workshops is an explicit limitation in creative design. The repetition of traditional forms with only minor variations has become common, signaling a lack of innovation and artistic evolution. Such homogeneity not only diminishes the aesthetic appeal of the works but also restricts their commercial viability in both domestic and international markets. A comparative analysis between functional glass products produced in Iran and those created in prominent glassmaking countries reveals a significant gap in creativity, quality, and user engagement. One critical reason for this discrepancy appears to be the marginalization<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—or complete absence<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—of professional designers and artists in the production cycle. Without their involvement, the potential of glass as a medium for meaningful and innovative design remains underexplored. This omission results in missed opportunities to create functional objects that are not only technically sound but also artistically distinguished. Given Iran’s rich and influential history in the art of glassmaking, one might expect the country to hold a respected place on the global stage. Historical artifacts bear witness to Iran’s deep heritage and craftsmanship, particularly during the Islamic Golden Age, when Persian glass was renowned across regions. However, in the present day, Iranian glasswork neither garners international recognition nor commands strong domestic demand. This decline calls into question the long-term sustainability of the field and demands a thoughtful re-evaluation of its current practices. To address these concerns, this study adopts an applied, descriptive-analytical approach to contribute to the preservation and revitalization of traditional glassmaking in Iran. Specifically, the research focuses on identifying the barriers to quality production in contemporary workshops and emphasizes the critical role that design can play in elevating the standard of output. It draws upon qualitative methods, combining literature review with fieldwork<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—including direct observation, studio visits, and interviews with glassmakers<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—to assess the current state of the industry through the lens of design and functionality. The primary fieldwork was conducted in Tehran, widely recognized as the central hub for traditional glassmaking in Iran today. Active workshops in the region were selected as the research population. Data gathered from these sites revealed a pattern of recurring challenges: limited access to skilled designers, a lack of innovative design methodologies, traditionalist attitudes that resist change, interference from untrained individuals in production processes, subpar raw materials, restricted creative freedom, and inadequate institutional support or policy backing. The findings point to an apparent disconnect between design potential and manufacturing practice. While many artisans possess impressive technical skills and a deep understanding of glass behavior, they often lack the design literacy and collaborative infrastructure necessary to transform their technical know-how into marketable, compelling products. Bridging this gap requires integrated efforts<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri',sans-serif; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—educational programs to train designers in traditional materials, policies to support artisan-designer collaboration, and investments to upgrade both production facilities and material quality. In conclusion, this research underscores the importance of repositioning design at the core of the glassmaking process. Doing so not only enhances product quality and market relevance but also reaffirms the cultural and artistic identity of Iranian glassmaking in a rapidly globalizing world. With the right strategies and support systems in place, Iran’s traditional glassmaking can reclaim its historical prestige and continue to evolve as a vibrant, sustainable art industry. شیشه از جذاب‌ترین ترکیبات موجود در طبیعت با خصوصیاتی منحصربه‌فرد است، که با بهره‌گیری صحیح و مناسب از خواص ماهیتی و ظاهری آن، می‌توان آثاری شاخص در دنیای هنر خلق نمود. بااین‌همه، دستیابی به محصولات شیشه‌ای که به شایستگی نمایانگر خواص شیشه باشد مستلزم رسیدن به مادۀ اولیه‌ای باکیفیت، طراحی متناسب با خواص ماده و دانش فنی جهت فرم‌دهی منطبق با نیاز روز است. با مشاهدۀ آثار تولیدی کارگاه‌های شیشه‌گری سنتی تهران در دهه 1390، محدودیت در طراحی و تکرار فرم‌ها با تغییراتی جزئی، بسیار جلب نظر می‌نماید. به نظر می‌رسد یکی از حلقه‌های مفقوده در مراحل ساخت شیشه‌های سنتی ایران، بی‌توجهی به جایگاه و نقش هنرمندان در چرخه تولید محصولات کاربردی و خلق آثار هنری شاخص و درخور از این مادۀ کم‌نظیر است. با توجه به پشتوانۀ تاریخی شیشه‌گری ایران در دنیای هنر، انتظار می‌رود این هنر-صنعت همچنان از جایگاهی شایسته برخوردار باشد و برای حفظ جایگاه دیرینه آن، رویکردی علمی در طراحی پیش‌بینی شود. شوربختانه به نظر می‌آید شیشه‌گری امروز ایران نه‌تنها در عرصه جهانی حضوری سزاوار ندارد، بلکه شواهد نشان از آن دارد که در بازار داخلی نیز از اقبال مناسبی برخوردار نیست. از آنجاکه بقای هر حرفه مستلزم استقبال مخاطب و وجود بازار فروش است، این پژوهش کاربردی با هدف حفظ و پایداری این هنر-صنعت و کمک به ارتقای سطح کیفی محصولات تولیدی کارگاه‌های شیشه‌گری از طریق شناخت نقش طراحی در تولید محصول انجام شد. پژوهشی توصیفی ـ تحلیلی که از نظر چیستی و ماهیت داده‌ها، کیفی است. اطلاعات آن پس از مطالعات اسنادی و منابع کتابخانه‌ای، با حضور در کارگاه‌ها، مصاحبه با شیشه‌گران و مشاهدۀ آثار از منظر ارتباط طراحی و کاربرد، به دست‌ آمده‌ و به شیوۀ تحلیل محتوا نگارش شده است. دستاوردهای حاصل از این پژوهش چنین بود که امروز در هیچ‌کدام از واحدهای شیشه‌گری، بخشی برای طراحی پیش از تولید اختصاص داده نشده، که عواملی چون ضعف آگاهی طراحان، عدم خلق روشی نو، فرهنگ سنتی حاکم بر این حرفه، تأثیرگذاری افراد نامتخصص و ناآشنا در فرایند تولید و غیره از دلایل آن است.

https://rac.soore.ac.ir/article_730127_37e3ce428ccd720cd4d3751ed35a70c6.pdf