Iraj Zand
Iraj Karimkhan Zand was born on July 10, 1950, in Tehran. His father, Yaddollah, and his grandfather, Ali Akbar Khan, were both architects, while his uncle, Asadollah, was a painter and plasterer, and another uncle, Fathollah, was involved in printing and publishing.
He spent his childhood and kindergarten years in the Darvazeh Dolat neighborhood of Tehran—a warm house in a neighborhood where children played football, and he watched the first television images from the window overlooking their alley.
Iraj Zand
Iraj Karimkhan Zand was born on July 10, 1950, in Tehran. His father, Yaddollah, and his grandfather, Ali Akbar Khan, were both architects, while his uncle, Asadollah, was a painter and plasterer, and another uncle, Fathollah, was involved in printing and publishing.
He spent his childhood and kindergarten years in the Darvazeh Dolat neighborhood of Tehran—a warm house in a neighborhood where children played football, and he watched the first television images from the window overlooking their alley.
About Iraj Zand Foundation
After Iraj’s “departure”, we decided to establish a foundation in his name to commemorate his memory. This foundation would serve as a place not only to preserve his legacy of artwork but also to pass on his youth-centered and novelty-seeking spirit to other generations. While searching for a suitable building for the foundation, we became acquainted with Building No. 2. The familiarity of the surroundings held a special significance for us – my childhood home in Kalbadi House, Sari, Iraj and his studio on the 16th of Azar Street, and the studio in Darakeh, etc.
However, the appearance of the building itself was a reflection of its inner condition. It seemed like a tired and weathered body, who had seen more than seventy years of life. The sun, heat, cold, wind, rain, and storms of time had worn down its façade, leaving it visibly fatigued. Its eastern and western shoulders had leaned heavily on two more tired bodies.
About Iraj Zand Foundation
After Iraj’s “departure”, we decided to establish a foundation in his name to commemorate his memory. This foundation would serve as a place not only to preserve his legacy of artwork but also to pass on his youth-centered and novelty-seeking spirit to other generations. While searching for a suitable building for the foundation, we became acquainted with Building No. 2. The familiarity of the surroundings held a special significance for us – my childhood home in Kalbadi House, Sari, Iraj and his studio on the 16th of Azar Street, and the studio in Darakeh, etc.
However, the appearance of the building itself was a reflection of its inner condition. It seemed like a tired and weathered body, who had seen more than seventy years of life. The sun, heat, cold, wind, rain, and storms of time had worn down its façade, leaving it visibly fatigued. Its eastern and western shoulders had leaned heavily on two more tired bodies.
