BIBI History

The Co-Founders of BIBI (Banous in Building Industry) are Lili Etessam, AIA and Mani Ardalan Farhadi, Associate AIA. We began in 2015 in the Bay Area with occasional in-person lunch gatherings in San Jose, CA. These were organized by Lili Etessam when she worked at San Jose City Hall and included Iranian women and men who worked at City Hall. She then extended it to architects, engineers and consultants in the South Bay. Though now retired, Lili still continues these in-person Iranian gatherings for Nowruz, Persian New Year, each Spring.

Mani Ardalan Farhadi created the name BIBI (Banous In Building Industry) for the group to represent both Persian women professionals as well as the word “Bibi” itself being a respectful term for elder and wise women. Mani was inspired to recreate the experience she felt at the 1976 International Congress of Women Architects in Ramsar, Iran. The conference was attended by female architects from 23 countries. Famous architects participated including Denise Scott-Brown, Anne Tyng, Jane Drew, Alison Smithson, Gae Aulenti and others, as well as many rising design stars from Iran.

During the pandemic in 2020, we had the idea to switch from in-person to virtual gatherings and we began to expand our reach through word-of-mouth. Every week another BIBI is added to our membership, which is currently free to join. Our social media presence is limited to private LinkedIn page, private Instagram page, private Facebook page, and private WhatsApp chat, all by invitation.

Furthermore, Mani was inspired by Farid-ud-Din Attar’s 12th C. poem “Conference of the Birds” about an allegorical journey to find the mythical Si-Murgh. Hundreds of birds depart on a journey across seven valleys to find their leader. Along the way, many perish, fall ill, get lost or drop out. When they reach their destination, only 30 birds survive the arduous path. Looking around, they see their reflection. In Persian, 30 is “Si” and Birds is “Murgh.” They realize they were searching for themselves the entire time.

In 2021, we held a design competition for our logo, and the winning design was created by BIBI Shadi Manouchehri Sinclair. It has the letters B-I-B-I intertwined both in English and Persian, and resembles the figure of a woman. The color is based on Persian turquoise.

We are now an informal group of ~200 Iranian-American women across the United States, with some members in Canada and even London. We host monthly virtual gatherings that combine socializing with highlighting a specific speaker each time. Our presenters have been from within our own midst, as we empower each other. We hope to continue to grow our branches and spread our roots in diaspora.

Histories and Legacies

At BIBI, we celebrate Iranian-heritage women in architecture and design, both past and present, shining a light on their often-overlooked legacies. Through our various events such as our member presentations, book club gatherings, and informal meetups, we create spaces to honor the trailblazing BIBIs who have shaped and continue to shape our built environments, both within and beyond Iran. Recognizing that their contributions deserve greater visibility, we are committed to bringing their stories and knowledge to the forefront through our initiatives. While much work remains to ensure their achievements and influence are widely acknowledged, we are dedicated to advocating for this awareness and expanding the conversation around their diverse roles in our profession.

While our website is not specifically a historical knowledge hub, we aim to be a space for meaningful discussions about our shared past. Our events foster connections to history, whether by exploring the legacies of pioneering women or delving into the rich traditions of Persian architecture and urbanism.

Our professional banous navigate both challenges and triumphs throughout their careers, from their early contributions to shaping our industries and built environments to the impact they continue to make today globally. By connecting past, present, and future, we aim to celebrate their achievements, honor their legacies, and draw inspiration for what lies ahead.

Honoring Every Layer of Impact: Celebrating the Vision, Mentorship, and Legacy of Iranian Women in Architecture—Amplifying Voices, Breaking Barriers, and Elevating Untold Stories.

As an example of our dedication to telling the stories of our inspiring banous, BIBI’s Spring 2024 Book Club selected Noushin, A Memoir: The Making of a Woman Architect. The memoir chronicles the extraordinary journey of Noushin Ehsan, one of Iran’s early female pioneers in architecture. The book offers a window into the challenges and societal and cultural biases faced by women architects of her time, both nationally and internationally; Ehsan studied and practiced architecture in Iran, the United States, and the UK. In January 2025, we had the privilege of hosting a live virtual conversation with Ehsan herself, during which she shared profound insights into her challenges and triumphs within male-dominated professional spaces, both in Iran and abroad.

Ehsan’s memoir offers a rare and deeply compelling narrative that transcends cultural boundaries, exploring the intersections of personal ambition, societal limitations, and cultural expectations across three continents. Her reflections likewise illuminate the formative years of modern Iranian architecture, providing a unique perspective through her lived experiences as an Iranian-heritage woman navigating a global profession. The memoir captures both the personal sacrifices and professional achievements that define her legacy, making it an invaluable contribution to the discourse on women’s roles in architecture.
The unique context of architectural education and practice for Iranian women during its early formative years is a focal point of the memoir. Ehsan highlights the prominence of female architects in Iran during the 1960s and 1970s, noting that finding reputable women in the profession was relatively easier in Iran, as well as in countries like India, Africa, and Europe, compared to the United States at the time. The irony, of course, lies in the fact that women architects of the time had greater visibility and opportunities in a country like Iran, even though then still navigating its own modern reforms, than say in the United States, which was widely seen as a global leader in progress and equality. As Ehsan points out, this contrast became evident during the selection process for the First International Congress of Women Architects, held in Ramsar, Iran, in 1976. As a member of the organizing and selection committee, Ehsan underscores how Iran stood out for its significant progress in promoting women’s involvement in architecture and related fields, advancing gender equity in ways that surpassed many regions, including Western nations (104–106).
In the memoir, Ehsan reflects on her personal experiences in the early 1970s when she moved to the United States to pursue a master’s degree in architecture. She recounts the stereotypes she encountered, particularly the disbelief that a woman from a Middle Eastern country could be an architect. These misconceptions revealed more about Western biases than about the actual progressiveness of Iran at the time. Ehsan writes, “Most people thought that Middle Eastern societies were too repressive to allow women to ascend the ranks of prominent professions, but Iran was surprisingly progressive. If anything, the fact that I was the first woman student at the School of Architecture at the University of California, Los Angeles, might indicate that it was the schools in America that were behind the times” (55).

Ehsan’s story challenges stereotypes by revealing that while many in the West assumed Middle Eastern societies were too repressive for women to rise in architecture, it was, in fact, Iran that was surprisingly progressive, making it all the more ironic that she became the first woman admitted to UCLA’s School of Architecture, showing that some of the real barriers were not in the Middle East, but in America itself.

First-hand accounts, such as Ehsan’s memoir, illuminate the remarkable strides Iranian women have made in architecture during the early years. Their achievements, forged in the wake of systemic global inequities, stand as a testament to our banous resilience and determination. Yet, many of these challenges persist even today, as our BIBIs continue to navigate and overcome them daily. Despite their impactful contributions, the stories of pioneering and present-day banous in building industry often remain fragmented and largely absent from mainstream narratives.

Existing literature, while valuable, still tends to exclusively focus on prominent figures only, neglecting the diverse experiences of women from varied socioeconomic and regional backgrounds. This narrow focus obscures the full extent of their influence on architecture and the built environment, leaving an incomplete picture of their legacy and ongoing impact.

Iran's first school for teaching architectural engineering, Dar ul-Funun (Polytechnic College), was established in 1851 under Naser al-Din Shah Qajar, building on the vision and legacy of Amir Kabir's reforms. However, despite this progressive foundation, Dar ul-Funun admitted only male students for formal training. As a result, women’s contributions to architecture during this era were largely informal and tacit, relegated to the periphery of the field.
The early twentieth century, especially after the Constitutional Revolution of 1905–1911, marked a turning point for Persian women as they began to have a stronger presence in the public sphere, particularly in education. Driven by the movement and push for reform, this period saw girls' education become a focal point for achieving gender equality. Karimi (2009) notes that during this time, women were introduced to new ideas of efficiency in domestic tasks and modern home innovations, influenced by factors such as schools for home economics and the application of new household gadgets. Over time, women incorporated these innovations into their everyday lives, blending traditional practices with emerging consumer culture.
As women’s activism grew, their roles expanded in public service and civil society, paving the way for them to enter a variety of professional fields, including architecture in later years. As women gained more knowledge and independence, they were also encouraged to pursue higher education and enter fields such as architecture. The pioneer women who entered the field during these early years left a significant mark on the country’s architectural landscape and urban development. In this early period, women challenged societal norms and played a key role in shaping the country’s developmental trajectories.
This dynamic began to shift during the first Pahlavi period, a transformative era for Iranian society. The Pahlavi era brought increased opportunities for women to participate in both professional practice and academia. Research by Khanbanzadeh, Armaghan, and Soheili (2020) underscores the significant contributions of women to Iranian modern architecture during this time, though their work remained shaped by societal constraints. Despite these achievements, much of the legacy of early female architects in Iran is often overlooked in contemporary narratives (Interview with Eskandar Mokhtari, 2021).
In addition to facing early barriers, trailblazing Iranian women in architecture, like many of their international counterparts at the times globally, have contended with systemic underrepresentation and marginalization in the historical narrative of their nation’s architectural evolution. By the early 1970s, however, the status of Iranian women in the field had already advanced significantly, even outpacing progress in many other countries, as Ehsan (2020) points out in her memoir (55). During the later years of the Pahlavi era, several visionary Iranian women architects gained recognition, even when sometimes their formidable accomplishments often overshadowed by persistent societal inequities.

To truly honor these remarkable contributions, it is essential to adopt a more inclusive perspective on the impact and nature of their work, not all of which involved designing landmark buildings, but also included equally important, sometimes humble, yet indispensable efforts to enrich community spaces, mentor the next generation, and champion social and cultural advancements within the built environment.

At BIBI, our diverse membership is united in the mission to break barriers and bring untold stories of underrepresented voices to light: stories that capture the richness of our collective influences. We are committed to addressing the gap in recognition of Iranian women’s contributions to architecture by amplifying their voices, fostering awareness, supporting new studies, and preserving their enduring legacies.

At BIBI, we amplify and celebrate diverse voices through our initiatives, so all stories are told to inspire and empower future generations while enriching the broader architectural narrative.

Iran made significant strides in providing women access to architecture and education by the mid-20th century, surpassing many Western nations in this regard. While Dar ul-Funun, Iran's first architectural institution, excluded women, the opening of Tehran University to women in 1934 and the establishment of its Faculty of Fine Arts in the 1940s marked a pivotal shift. These milestones offered women opportunities to study architecture long before many U.S. universities integrated women. Farrokh (2012) highlights Iran’s progressiveness during this period, noting that women played key roles in the expanding modern educational system, well ahead of many Western counterparts.

Despite these advancements, Western perceptions of Iran—even until today—often fixate on conservatism and militancy, a distorted portrayal reinforced through both Iranian and international media. Unfortunately, this is only a marginally partial, selective and inaccurate view of Iran and of who Iranians are, particularly, who Iranian women are. We hope for broader knowledge, more critical reading, and greater effort by non-Iranians to educate themselves rather than rely on assumptions when they encounter Iranians, especially Iranian women. Simply engaging with resources such as our website and learning about our members opens space for a deeper and more accurate understanding.

In contrast to these biased images, Tehran in the 1960s and 1970s was a progressive, cosmopolitan city with a thriving cultural scene and an inclusive education system. Moreover, despite how Iran and Iranian women are often portrayed in the media, today’s Iranian women remain empowered, resilient, and vocal in articulating their needs, even in the face of persistent limitations. That truth must be told again and again, so it can dismantle entrenched stereotypes, honor their agency, and affirm the richness and complexity of Iranian society.

Despite the profound changes brought by the 1979 Revolution, female professionals in Iran have continued to assert their resilience and presence in the field, pushing boundaries and innovating within the constraints they faced.

Picture from 1971 shows female students at Tehran University studying outdoors prior to the 1979 Iranian Revolution.

Many figures deserve recognition, but one prominent contemporary architect is Leila Araghian, best known for designing the Tabiat Bridge in Tehran, one of the city’s most celebrated public spaces. The bridge, which connects two parks and has become an integral part of the urban landscape, earned numerous accolades, including the 2016 Aga Khan Award for Architecture. Araghian co-founded Diba Tensile Architecture in 2005, focusing on innovative design, and later established HaftOHasht Innovation Studio to support art and architecture ventures. While not exclusive to women and still insufficient, publications like Honar-e Memari since the late 1990s have helped provide increased visibility for female architects, offering a platform to present and showcase their work. Several other women of Iranian heritage practicing internationally including in the U.S. have achieved notable recognition and prominence, to name just a few, the Hariri Sisters in New York, Farshid Moussavi, Raha Ashrafi, Homa Farjadi, and many others.
Despite the limited visibility of their stories, the legacies of both pioneering and contemporary female professionals continue to inspire current and future generations. Iranian women have excelled across diverse fields, including architecture and design, with their contributions in both practice and academia serving as pivotal forces in shaping the built environment. The impact of these women is undeniable, and Persian BIBI itself as an organization stands as a testament to this truth, showcasing the wealth of knowledge and perspectives brought by our members. This is a source of pride, as we continue to challenge norms, innovate, and honor the paths of past pioneers, creating meaningful impact locally and globally.

At BIBI, we are dedicated to cultivating ongoing conversations, amplifying diverse voices, and celebrating the achievements of Iranian-heritage women in our industries. Our platform provides a space to share these discussions with the public, broadening understanding and perspectives. We are committed to making certain that these contributions receive the recognition they deserve and that their stories are told with the respect and prominence they warrant.

The earliest recorded female architect in Iran, Nektar Papazian-Andreef, graduated in 1945 and became a role model for aspiring women in architecture. Born in 1927 in Arak, she studied at the University of Tehran and later in Paris, gaining professional experience in architectural offices. After returning to Iran in 1959, Papazian established her own practice, designing projects including educational institutions, government buildings, and city planning, a prominent project of which being the strategic priorities and Master Plan for Tabriz. Her work blended international modernist styles with traditional Iranian elements like arches, using materials such as cement, concrete, and steel (Softinja, 2024; Memari Online, 2020).
An early generation of female professionals who received architectural education in Iran and abroad played a pivotal role in shaping the country’s architectural discourse. These women, marked by intellect, resilience, and creativity, carved out vital spaces for women's professional expression. Some pioneers identified in the limited available resources—largely secondary sources due to gaps in primary documentation—include Aghdas Vafa, Azar Faridi, Azar Safi-Pour, Giti Afrouz-Kardan, Leila Farhad Motamed, Leila Sardar Afghami, Mahvash Nezami, Mina Samiei, Moloud Nejat, Nasrine Faghih, Nektar Papazian-Andreef, Noushin Ehsan, Roza Mirzaian, Shahrzad Seraj, Shahla Malek Noori, Keyhandokht Radpour, and Victoria Ohanjanian-Fard, and Mina Marefat and Yekta Chahrouzi, who were at the 1976 International Congress in Iran.
Early female architects played a crucial role in shaping various building types and city formations through engaging in urban planning across many Iranian cities, paving the way for future generations and breaking barriers in a traditionally male-dominated field. Notable contributions include Mahvash Nezami’s work on Tehran’s Detailed Plan and her leadership roles in the Ministry of Housing and Urban Planning, as well as Azar Faridi’s master planning of cities such as Khuzestan and Bushehr, highlighting women’s growing influence in urban development (Khanbanzadeh, Armaghan, and Soheili, 2020; Rasooli and Khaghani, 2018). Additionally, female-owned architectural firms began to emerge, such as Banu Consulting Architect, founded by Keyhandokht Radpour, Shahrzad Seraj, and Mina Samie in 1974 (Tabibi, 2021).
Despite these significant and to that date unprecedented contributions, many of these women and their stories remain largely unknown and untold in mainstream architectural history. Information about their work is often fragmented and incomplete, highlighting a clear gap in the available resources. It is evident that existing accounts fail to provide an inclusive and comprehensive portrayal of their full impact on the field.
The 1976 International Congress of Women Architects, held in Ramsar in 1976 and patronized by Shahbanu Farah Pahlavi, even to this date remains the most significant event in Iran in highlighting the role of Iranian women architects. Key Iranian women architects, including Noushin Ehsan, Azar Faridi, Guiti Afrouz Kardan, Leila Sardar Afkhami, Nasrin Faghih, and Shahla Malek Noori, were selected for the executive committee to help organize the event (Tabibi, 2013). The landmark event celebrated contributions of female architects to modern architecture and their role in shaping the country’s architectural identity, exploring themes of cultural identity, crisis in modern architecture, and women’s role in addressing such challenges.
Tabibi (2021) reflects: “The congress was not only a platform for women architects to be identified as active agents in reconstructing Iran as a modern country, but also it was an attempt in rethinking gender’s instrumental role in shaping and directing the narration of modern Iranian architectural history and historiography (198).” Discussions at the Congress highlighted cultural heritage, urbanization, and the integration of traditional and modern practices, as well as systemic barriers such as gender discrimination and the "star system" in architecture (202-205). International figures such as Denise Scott Brown, Jane Drew, and Gae Aulenti participated and added diverse international perspectives on gender discrimination in the architectural field globally, at the time. The cross-cultural dialogue emphasized equality in talent across genders while acknowledging societal roles that could hinder women's professional productivity.
The 1976 Congress of Women Architects was a significant event, widely promoted in Art and Architecture magazine, providing a rare platform for Iranian women architects to gain national and international recognition. The event’s documented proceedings and accounts have since become invaluable resources for understanding the professional and cultural status of female architects in Iran and beyond, offering unparalleled insights otherwise absent from the historiography of the field. While originally intended to recur every four years, the congress was discontinued due to the 1979 Iranian Revolution, which shifted the nation's priorities and ended the Pahlavi era. Despite its short-lived nature, the Congress remains a critical reference point for analyzing the mid-20th-century contributions and challenges of Iranian women architects.