At the Crossroads of History

This article begins with a question often debated in design circles, especially within architectural and landscape history: Under what circumstances did the "modernism" we frequently discuss come into existence? Who were the people behind this "modern design" movement, and what events influenced them?

If we were to liken history to a tangible object in the material world, it would be akin to geological strata—some layers rich in minerals, while others, often overlooked, conceal secrets unknown to most. What follows is a narrative of the fine gray that lies behind the monument of modernism, a gray that intricately connects all facets of early modernism.

In the half-century spanning the late 19th and early 20th centuries, at the juncture of two great centuries, numerous significant events unfolded. On the soil of the former Roman Empire, the Ottoman Empire, despite teetering on the brink of collapse, continued its final struggle. Iran, heir to Persian blood, found it difficult to maintain its traditional state model and began seeking reforms in line with the times. The Austro-Hungarian Empire, formed through the union of Austria and Hungary, set the stage for World War I with its untimely expansionist actions. And France, having endured the humiliating defeat of the Franco-Prussian War, sought a new direction for development while preparing for revenge against Germany.

One might wonder, what is the connection between these countries? Why are they mentioned together? Perhaps the answer to this question lies in the life of the protagonist of this story.

Gabriel Guevrekian, one of the initiators and founders of this monumental movement known as modernism, remains relatively unknown. His name, long and uncommon, coupled with his works being somewhat overshadowed in the wave of modernism for various reasons, makes him an unfamiliar figure to those outside the field of architecture. Yet, like the era he lived in, where creating something new was a passionate pursuit—despite the frequent failures—the valuable experiences gleaned from these great attempts have withstood the test of time and continue to be celebrated by generations.

The exact year of Gabriel Guevrekian's birth is a matter of debate, with various sources suggesting dates like 1892 or 1900, due to incomplete childhood records and the lack of corroborating witnesses. Nevertheless, the era in which he was born, his youth, and even the transformations he experienced until becoming an American citizen in 1955, all reflect the events—whether of war, peace, or the brief respite between the two—that occurred in the nations, states, and regions of his time.

Born in Istanbul (then part of the Ottoman Empire) in the 1890s to Armenian parents, Guevrekian's early life was shaped by the decline of the Ottoman Empire. As the empire's influence waned, nationalism and revolution spread like wildfire, threatening the vast empire that once spanned three continents. To maintain its final grip on power, the Ottoman government began a brutal crackdown on the Armenians, leading to several horrific massacres. Facing an increasingly perilous existence, Guevrekian's parents, who had recently welcomed their son into the world, planned a swift departure from the country in search of safer ground.

A Prodigy in Vienna

In 1873, Franz Joseph I, the Emperor of Austria, after carefully assessing the internal and external challenges facing the empire, reluctantly compromised with the powerful Hungarian nobility, forming the Austro-Hungarian Empire, a rare dual monarchy in history. The rapid establishment of this hybrid state reflected the intense ideological conflicts and surging movements within Austria. In the same year, the Vienna School of Arts and Crafts was founded, emerging from the debates and exchanges among Austrian designers and artists with radical views and avant-garde creative philosophies.

The unique atmosphere of the Vienna School of Arts and Crafts turned its relatively small buildings into the birthplace of Austria's most cutting-edge art movements. Notably, the Vienna Secession, whose members included world-renowned painters such as Gustav Klimt and Egon Schiele, originated here. Their works remain celebrated today as pioneering examples of groups that sought to break away from tradition and oppose academic art.

Of course, painting and drawing were only a small part of the Secessionist movement. Many craft artists and architects also began distancing themselves from the academic establishment, vowing to sever ties with what they saw as the most obstinate and outdated Vienna Academy. When Guevrekian enrolled at the school in 1915, the Secessionists had already taken control, inevitably drawing him into this grand "artistic war."

Engaging in discussions with these artists, who were constantly exploring how to erase academic traces and how to draw the boldest lines in the most striking designs, made Guevrekian realize that this was the "career outline" he sought. He resolutely began to sketch his vision of "anti-academic, avant-garde design in the early 20th century."

During his six years at the Vienna School of Arts and Crafts, several influential figures in the Austrian art and design scene left a profound impact on Guevrekian, helping shape the early foundations of modernism. These included prominent figures such as Oskar Strnad and Josef Hoffmann, both of whom played key roles in defining modern design frameworks and principles. Even the legendary Le Corbusier, who frequently traveled to study abroad, had studied here, as had other future members of the Deutscher Werkbund (German Work Federation), who would later solidify the framework and rules of modern design.

Oskar Strnad (1879-1935) and Josef Hoffmann (1870-1956) were Guevrekian's primary mentors during this period. Strnad's emphasis on "design rooted in the everyday life of all people" and his belief that design should help people find a universal beauty in life deeply influenced Guevrekian. Strnad fully embodied the essence of Austrian arts and crafts, spanning fields from architecture and landscape to modern furniture, ceramics, and even watercolor decoration. This diverse expertise provided Guevrekian with a versatile toolkit, one that he would later use to achieve numerous accomplishments, demonstrating the profound impact of Strnad's teachings.

If Strnad provided Guevrekian with a lens through which to view the world, then Hoffmann sculpted a sharp-edged yet intricately detailed frame around it. Hoffmann was undeniably a master among early Austrian modernist architects, a senior figure to nearly all modernists. He was dedicated to exploring architectural modernity, continually learning and refining his modernist credo. Hoffmann was also one of the first designers to merge Cubism, Expressionism, and Neoclassicism in architecture, creating a distinctive style that blended the ancient and the modern. Guevrekian successfully acquired this frame and embedded the lens within it.

For the Sake of Modernism

After submitting his graduation project, Guevrekian completed his six-year education at the Vienna School of Arts and Crafts. These six years thoroughly established his design style and successfully shaped his firm yet gentle design philosophy. Throughout his studies, Guevrekian constantly sought his next destination, never satisfied with staying in one place for too long—a habit perhaps ingrained by a life of constant moving, saying goodbye to family members, and adapting to new environments.

Guevrekian once mentioned that he always considered himself an Iranian citizen, identifying deeply with Persian culture and lifestyle. However, his life resembled that of a nomad, constantly moving across the globe in search of opportunities, never forgetting the land of his second home, Iran.

In 1921, Guevrekian began his "westward journey," packing his bags and heading to Paris, the "city of light that floats but never sinks." The thousand-kilometer distance from Vienna to Paris symbolized the transition between two phases of his life—from a diligent student to a modernist warrior capable of challenging the world. Little did Guevrekian know that France would become his new home for the next twenty years.

Post-World War I France bore a starkly different atmosphere compared to the pre-war years. With the nation mourning the loss of 1.5 million lives, France's head hung low. Lenin famously dubbed France a "usury imperialism," harshly criticizing the country's embarrassing situation amidst insurmountable difficulties. The government was burdened with debt, and the citizens were desperate for a period of peace and recovery. However, the end of the war also ushered in a relatively peaceful historical phase for France. It was during this time that Guevrekian encountered a young architect who had just returned to the capital, Charles-Édouard Jeanneret, better known by his pseudonym, Le Corbusier.

In 1920, Jeanneret decided to use the name "Le Corbusier" for his designs, adopting his maternal grandfather's surname as a symbol of his ambitious inheritance. The young Le Corbusier was actively seeking opportunities to put his ideas, gleaned from years of study and travel, into practice. Guevrekian's appearance gave him the resolve to pursue his dreams.

Not yet thirty, Guevrekian was already bald, a characteristic that often led people to misjudge his age, unable to reconcile the image of a "brilliant yet bald" designer with that of a "young man." Guevrekian was considered a highly "precocious" architect; his academic achievements and design results seemed beyond what one might expect from someone so young. Le Corbusier regarded Guevrekian as one of his most important partners and collaborators. Their enduring relationship significantly influenced the development of modernist architectural styles.

From that point on, the two began working systematically on architectural projects, producing some of the earliest buildings identifiable as modernist. At the start of his design career, Guevrekian set himself two goals: one was to continue exploring modern design principles and challenge the status quo; the other was more pragmatic—like any designer, he needed to make a living. Balancing his radical and critical views with practical considerations, Guevrekian's early works were often seen as startling expressions of his ideas, a clear illustration of Socrates' "Allegory of the Cave."

In 1925, the French government hosted the long-delayed Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern Decorative and Industrial Arts) in Paris. Due to the aftermath of World War I, many of the planned exhibitors no longer existed, replaced by more radical and fervent movements born out of post-war chaos. The newly established Soviet Union had solidified its place, and Soviet aesthetics took a dominant position at the exhibition, delivering a strong blow to the conservative tastes of Western Europe.

This exhibition provided an ideal opportunity for designers like Guevrekian, who were eager to realize their avant-garde concepts. French landscape architect Jean-Claude Nicolas Forestier led the design and exhibition of the landscape gardens, with a focus on creating "instantaneous" gardens that could bloom continuously over the six-month duration of the event. Supported by the official committee, Guevrekian presented his pre-prepared conceptual sketches, resulting in the creation of the "Garden of Water and Light" (Jardin d'Eau et de Lumière) in a corner of the exhibition grounds. This garden, which bore little resemblance to traditional ones, made a sharp visual impact with its strong geometric sequences, not only meeting the exhibition's requirements but also challenging the outdated principles of arts and crafts in every possible way.

The Garden of Water and Light caused a sensation among critics of the time, who used harsh words to describe and attack Guevrekian's work. Terms like "nonsensical assemblage" and "nightclub gimmick" were quickly attached to this small garden. However, the conservative voices were soon drowned out by the unique sensory experience offered by the garden. Visitors found themselves surrounded by a landscape of countless triangles, experiencing a blend of isolation and cohesion, an interaction unlike anything they had encountered before.

Another aspect that might be overlooked is how Guevrekian incorporated elements from Persian art, drawing on his experiences in Iran to infuse the Garden of Water and Light with these influences. Boldly using high-purity colors in a serialized combination, he "modernized" the classic Persian garden paradigm. This was perhaps the nascent idea of modernism: filling an age-old design framework with bricks that represented modern thinking and materiality.

The Garden of Water and Light can be seen as a synthesis that transcends boundaries—not just in traditional construction and decorative techniques but also in the way it portrays and narrates space. Guevrekian abstracted space, giving the "time and space" in which people found themselves an autonomous existence. Structurally, Guevrekian employed strong perspectival guidance, further enhancing the visual immediacy of the entire garden. This innovative modern garden complex established a distinctive spatial and aesthetic demand.

The "statement" Guevrekian made with this creation sparked widespread discussion and achieved great success. The Garden of Water and Light's acclaim at the exhibition brought him more opportunities to advance his "modern design" agenda. At the event, the renowned French art patron Marie-Laure de Noailles took a keen interest in Guevrekian's work and offered him the chance to design a villa garden. Noailles, a pioneering artist in her own right, generously supported groups that advocated for modern design.

As a woman from a prominent French cultural and artistic family, Noailles was a true modernist, actively supporting like-minded artists of the time. Figures such as Salvador Dalí, Alberto Giacometti, and Luis Buñuel all received support from Noailles, names that would later leave a profound impact on history.

Similarly, Noailles appreciated the richness and novelty of the Garden of Water and Light, recognizing it as a fresh approach to fully unlocking the potential of an ordinary space. She greatly admired Guevrekian's modern perspective on landscape design. Thus, a well-justified commission was handed to Guevrekian, leading to one of the few legacies that we have the opportunity to experience in person today.

In the small town of Hyères, nestled between Marseille and Nice on the French Riviera, the Noailles were constructing a private villa. In the southeast corner of the villa's grounds, Guevrekian once again wielded his golden rule, designing an experimental garden on a triangular plot of land. The Villa Noailles, in essence, was a collection room for the Noailles couple, housing works by numerous artists with whom they had connections. Guevrekian's Cubist Garden (Le Jardin Cubiste) became the brightest star in this constellation.

The garden's name alone hinted at its ambition: by naming it "Cubist," it confidently and explicitly expressed its belief in the tenets of Cubism, representing modern landscape design in the language of Cubism. In the early 20th century, Cubism emerged and quickly developed, flourishing across various fields and naturally becoming a rich source of inspiration for modernism. The two movements influenced and shaped each other, creating countless remarkable synergies. Guevrekian seized this momentum and brought the Cubist Garden to life.

The Incomprehensible Fate

Guevrekian's growing fame led to an invitation from the Iranian government, which appointed him as the chief planner and architect of Tehran. Iran, the country where Guevrekian grew up, was always close to his heart. Throughout his life, he identified as an Iranian citizen and embraced Persian culture and lifestyle. Although he roamed the world like a nomad, constantly seeking opportunities, he never forgot the land of his second home.

During his four years in Tehran, a city undergoing extensive reconstruction, Guevrekian worked tirelessly, taking on numerous projects, including the design of urban villas and government buildings. However, his personal history from this period becomes increasingly shrouded in mystery, making it difficult to trace his life. It was as if he were a ship sailing into unknown waters, with his coordinates becoming increasingly difficult to track.

The reason Guevrekian's life after 1933 becomes elusive is that most of his work in Iran lacks comprehensive documentation and records, making it challenging for later generations to fully understand the details and verify his contributions during this time. Additionally, Iran throughout the 20th century was far from peaceful. From the Qajar dynasty to the Pahlavi dynasty, from World War II to the Iranian Revolution, and from the oil crisis to the hostage crisis, this ancient land never saw prolonged periods of tranquility. As a result, many related archives were either lost or destroyed, robbing us of the pieces needed to complete the puzzle of Guevrekian's life.

Returning to Iran marked a turning point in Guevrekian's life. He had the opportunity to restore those missing pieces, but World War II carved an insurmountable chasm in his path. Like a series of brands, wars left indelible marks on Guevrekian's life, casting shadows over his achievements whenever they seemed to flourish.

As one of the founders of modernism, Guevrekian's influence endures, largely because of his resilience and ability to negotiate with fate. He faced the relentless tides of history with courage and retreated into obscurity after his successes. He steadfastly upheld his beliefs while warmly extending his humility and gentleness to those around him. Guevrekian was like a wise gardener, nurturing every flower and tree under his care, though none ever truly belonged to him.

The groundwork laid in the first half of his life destined him to write the preface to the great book of modernism, a task for which he had long been prepared. Just as the preface to the Preface to the Orchid Pavilion is revered as the foremost example of running script, Guevrekian's preface serves as the opening chapter of modernism, infused with the essence of his life's work.