Raised in the historic city of Isfahan, Mohammad Gharipour received
his Ph.D. in Architectural Theory and History from Georgia Institute of
Technology in 2008 and Masters of Architecture from the University of Tehran in
2000. He teaches architecture at Morgan State University and is the Director and Founding Editor of the International Journal of Islamic Architecture. His
areas of research include Japanese traditional and contemporary architecture,
Persianate gardens and architecture, and restorative environments. He is the
recipient of Spiro Kostof fellowship award from the Society of Architectural
Historians (SAH) in 2008 and the author of several publications including Persian Gardens and Pavilions: Reflections in
Poetry, Arts and History(I.B. Tauris, 2013). in 2014, Dr. Gharipour was presented with the National Endowment for Humanities Faculty Award for his research on Synagogues of Isfahan, Iran. He is also curator of the Archnet collection on Synagogues of Isfahan.
Bush, Olga. "Relocating to Hawai‘i: Dwelling with Islamic art at Doris Duke’s Shangri La." In International Journal of Islamic Architecture, Volume 3, Number 2 (pp. 437-471), edited by Christiane Gruber, Bristol: Intellect, 2014.
This article explores Doris Duke’s (1912–93) practices as the ‘creative persona’ in building Shangri La, both her home in Hawai‘i and the fifth largest collection of Islamic art in America. Discussion begins with historical contextualization. A brief review of elite collecting in the 1930s extends the timeline of American orientalism to Duke’s project at Shangri La. Enabled by the emergence of interior design as a field for women’s creativity, her practices as the first major western female collector of Islamic art are considered against American orientalism’s gendered slant. Thereafter, the discussion turns to theoretical concerns. First, Duke’s deliberately hybrid spaces, mixing Islamic art from various regions and also combining historical objects with replicas, is studied as the creation of an Islamicate dwelling place, which, contrary to the colonial bases of orientalism, recognized the contemporaneity of the Islamic world. Duke’s practices of replication and recollection suggest relocation as the conceptual mode in which mobile objects create a sense of the transitory that supplants static architecture. Finally, the concept of relocation enables an examination of Duke’s major innovation. She moves Islamic tentage indoors to express her understanding of transitional space in Islamic architecture relocated to its setting in Hawai‘i.
Keywords: American orientalism; Doris Duke; Islamic tents; Shangri La; interior design; women collectors