| Summary: | <p lang="en">The present study analyzes aesthetics from the perspective of objectivism in the architecture of the Pahlavi period in Tehran. One of the most prominent characteristics of architecture is the creation of a beautiful building that evokes a pleasant feeling in its users; aesthetics is the science of understanding the very factors that enable this perception of beauty. In fact, aesthetics explains the process of <em>why</em> something is beautiful and <em>how</em> individuals perceive and analyze it. While two main views exist—subjective and objective—this research focuses on the latter. The objective view posits that beauty lies in the inherent qualities of the work itself, which can be universally analyzed, whereas the subjective view is highly personal and culturally dependent, making it less generalizable. Given the significant transformations in Iranian architecture during the first and second Pahlavi eras, influenced by both modernism and a revival of ancient Persian forms, this study aims to trace the evolution of objective aesthetics during this pivotal time.</p>
<p lang="en">This study, following a qualitative research tradition, employs an analytical-descriptive and comparative method. It is grounded in library studies, data analysis, and field observations to examine the objective aesthetic characteristics in eight iconic Pahlavi-era buildings: Alborz High School, the Museum of Ancient Iran, Tehran Railway Station, the National Bank of Iran building, the Carpet Museum, the Museum of Contemporary Art, Azadi Tower, and the former Senate Building. These specific structures were selected as representative examples of the architectural shifts across the two Pahlavi periods, allowing for a comparative analysis.</p>
<p lang="en">The results show that the aesthetic components of <strong>architectural form</strong> and the principle of <strong>unity in diversity</strong> are consistently present and fundamentally important across all eight buildings. These elements are identified as essential drivers in the formation and objective perception of beauty in the architecture of this period. The study concludes that despite stylistic variations between the first and second Pahlavi periods, these core objectivist principles remained a constant, providing a coherent aesthetic language that defined the era’s most significant public structures.</p>
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