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Taking a taxi from Tehran Imam Khomeini International Airport into the city, one cannot help but look at the seemingly random distribution of buildings along the road; an array of mismatched concrete blocks, worlds away from the images of Sheik Lotfollah Mosque that typically adorn the covers of Iran travel guides. “My observations about architecture in Iran are like that of many other countries that have changed in terms of architectural characteristics; Iran has changed too,” says Tehran-based architect, M. Reza Karfar. “Now we are in a time where everything is mass produced and we are just using and using, but not making memories with anything. That sense of belonging will, of course, go away. You see a 50 or 60, or 200-year-old house that just gets demolished and replaced by a 4 or 5-story building, and in 5 years they will demolish that 4 to 5-story building too.”

Not to say that Iran should be an exhibit for tourists, only consisting of beautiful tiled buildings, but this fear of memories fading in disappearing public spaces is one that, despite the numerous historical sites preserved around the country, is noticeable in Iran’s big cities. And while the subject is particularly pertinent in Iran, as Karfar points out this phenomenon is not unique to just one country. As a result, Iran might offer something of a case study for other countries around the world.

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Sweden is home to the world’s longest public bench. At 240 feet (around 72 meters) in length, the Långa Soffan (“long sofa”) was installed by the citizens of Oskarshamn in 1867 to overlook its rather unspectacular harbour, which opens toward the Baltic Sea. The function of this bench was not for passing time and taking in the coastal views, however; in times gone by it was rhythmically occupied by the wives of sailors awaiting their husband’s return from sea voyages. It allowed people to gather under a sense of common melancholy and collectively recall the smiles of their distant spouses before the ocean’s broad, blue canvas.