State-theatre #2 Tehran:

The Greek word "theater" refers first to the place, the architecture of the performance, and less to what is performed. A theatrical architecture represents the order of its time of origin even after decades and centuries. The geometric space of architecture stands against the anthropological space of its use.

Case Study 2: Tehran.
Vahdat Hall Tehran was Iran's first and only opera house. The auditorium of the building, commissioned by the Shah regime in 1966, is modeled on the Vienna Court Opera, while the ornamentation repeats the formal language of Persepolis, the central representative architecture of the Persian Empire. Since the Islamic Revolution in 1979, no opera or ballet performances have been held in Vahdat Hall. There is no archive of the pre-revolutionary period. Since 2006, the theater has had a system of pan and tilt cameras for documentation purposes. Zoom Out: the former workshop building of Vahdat Hall. Director Behrooz Gharibpour replaces the opera singer with a puppet with a poet with himself.
Zoom Out: roof in the north of Tehran. Sara Reyhani, virtual dancer, imagines the gaze regimes of various invisible stages.

Hashti Tehran:

Hashti, in most traditional houses in Iran, is an octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service.

Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the west, the construction of social housing called Pardis Town in the far east and the neighborhood Nafar Abad at the southern edges of the city.