ABOUT EDWARD’S
Edward Khatchatourian was born in 1936 into a cultured and prominent Armenian family. He initially moved to Iran with his parents. From a young age, Edward began working in a doll-making workshop, well-known at that time for its discipline and precision. He completed his education at the Saint Louis School in Tehran.
As only a youth, his interest in art and in the essence of production, which is a well-known trait among Iranian Armenians, directed him towards interior and furniture design. This passion turned him into one of the pioneers of furniture design and interior design in Iran, achieving remarkable harmony and success.
According to Master Tanavoli, at the same time as opening his first showroom on Istanbul Street in Tehran, he also owned a cafe gallery in the Shariati neighborhood, where many of his significant cultural acquaintances took place. Given Edward’s numerous trips to Paris and his familiarity with the cultural and intellectual circles of France, perhaps this might also be due to his adoption of French culture and “Café Society”.
As only a youth, his interest in art and in the essence of production, which is a well-known trait among Iranian Armenians, directed him towards interior and furniture design. This passion turned him into one of the pioneers of furniture design and interior design in Iran, achieving remarkable harmony and success.
According to Master Tanavoli, at the same time as opening his first showroom on Istanbul Street in Tehran, he also owned a cafe gallery in the Shariati neighborhood, where many of his significant cultural acquaintances took place. Given Edward’s numerous trips to Paris and his familiarity with the cultural and intellectual circles of France, perhaps this might also be due to his adoption of French culture and “Café Society”.
Professionally, Edward Khachatourian pursued a different vision compared to his contemporaries in the furniture design and interior architecture fields. He aimed to create an establishment and style distinct from the prevalent market productions of his time. Localization and attention to Eastern cultures (due to his Armenian-Iranian heritage) and their incorporation into his works were among his initial professional goals.
He started his work by making changes to the European Art Deco style so as to adapt it to the culture and manner of usage of Iranians. He expended significant efforts to promote and introduce his works. Additionally, the works of renowned artists like Marco Grigorian, Parviz Tanavoli, and others were promoted and used as significant parts of the interior design style of Edward’s for his projects.
Using themes from Eastern cultures (India, Japan, Ancient Iran) was another characteristic of Edward’s works. He was the first and most prominent artist to blend multiple cultures and philosophies into a single piece. Drawing inspiration from philosophical-cultural systems such as Japanese Ikebana, Luristan bronzes, Sassanian symbols, Indian sculptures, and many more, he created numerous exemplary arrangements and uniquely styled furniture.
The diversity of Edward’s works in the 1960s and 1970s made him the foremost furniture and interior designer of his era in Iran. His use of beech wood for technical and economic reasons was one of his innovations in the Iranian furniture industry. According to the well-known artist and curator, Fereydoun Ave, Edward might will be considered the founder of modern curation in Iran.
He started his work by making changes to the European Art Deco style so as to adapt it to the culture and manner of usage of Iranians. He expended significant efforts to promote and introduce his works. Additionally, the works of renowned artists like Marco Grigorian, Parviz Tanavoli, and others were promoted and used as significant parts of the interior design style of Edward’s for his projects.
Using themes from Eastern cultures (India, Japan, Ancient Iran) was another characteristic of Edward’s works. He was the first and most prominent artist to blend multiple cultures and philosophies into a single piece. Drawing inspiration from philosophical-cultural systems such as Japanese Ikebana, Luristan bronzes, Sassanian symbols, Indian sculptures, and many more, he created numerous exemplary arrangements and uniquely styled furniture.
The diversity of Edward’s works in the 1960s and 1970s made him the foremost furniture and interior designer of his era in Iran. His use of beech wood for technical and economic reasons was one of his innovations in the Iranian furniture industry. According to the well-known artist and curator, Fereydoun Ave, Edward might will be considered the founder of modern curation in Iran.
In summary, due to his diverse achievements, Edward Khatchatourian gradually became involved in numerous significant national projects, such as Sa’dabad Palace, Niavaran Palace, the Senate, the completion of the Ricardo Bofill project after the Revolution, Darband Hotel, Ramsar Hotel, and many others. These are among his works in which he either was personally responsible for or with which he collaborated.
After laying the necessary groundwork by completeing the education and providing guidance to his son (Ariuna Edward), Edward Khatchatourian passed on the beacon to his protégé and successor, confident that Edward’s distinct style and heritage remained in safe and capable hands. Edward succumbed to cancer and passed away in 2013 but his name and spirit lives on, through his works and Maison Edward’s.
Born in Tehran in 1969, Ariuna Edward Khachatourian is a nationally licenced architecture graduate of the prestigious École nationale supérieure des Beaux-Arts in Paris and where he also attended courses at the École du Louvre. His father, Edward Khachatourian, was one of the pioneers of interior architecture and design in Iran.
As a true avant-gardist, Ariuna Edward created a new design structure inspired by the rich cultural heritages of his various countries, from which he draws his inspiration. Influenced by his father’s artistic life, Ariuna Edward has dedicated himself to the development of the EDWARD Foundation, a vehicle to find and support the progress of new and exceptional talent in the field of architecture.
He is currently focusing on interior architecture projects that integrate and fuse Middle Eastern culture with that of Europe’s. The impressive Tree of Life (4m x 26m) on the façade of the “Edward’s Complex” in Kuhsar, Tehran, designed in collaboration with the renowned artist, Reza Lavasani, beautifully illustrates his artistic vision.
As a true avant-gardist, Ariuna Edward created a new design structure inspired by the rich cultural heritages of his various countries, from which he draws his inspiration. Influenced by his father’s artistic life, Ariuna Edward has dedicated himself to the development of the EDWARD Foundation, a vehicle to find and support the progress of new and exceptional talent in the field of architecture.
He is currently focusing on interior architecture projects that integrate and fuse Middle Eastern culture with that of Europe’s. The impressive Tree of Life (4m x 26m) on the façade of the “Edward’s Complex” in Kuhsar, Tehran, designed in collaboration with the renowned artist, Reza Lavasani, beautifully illustrates his artistic vision.