This project sits at the threshold of two important centers of the city of Tallinn, and attempts to make this threshold less of a barrier and more of a pleasant, non-commercial public connection in the city. The project itself is characterized as two boxes. One is formal, solid, and used for orchestral and choir performances. The other is porous, permeable, and accessible as a quality public space for the city. Performances can still happen here, but the setting is informal and free to use. The first box brings a sense of monumentality and gravitas as a large concert hall to this project, while the other makes it possible for the public to engage with it daily, without being a commercial public space. The two are connected by a transparent shell that brings the street in and acts as a foyer to the concert hall.
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This thesis examines the films of Iranian director Bahram Beyzāêi through the lens of architectural space and spatial storytelling. It explores how Beyzāêi uses architecture—not merely as a backdrop, but as a narrative device that articulates character, memory, and social commentary. Focusing on selected films including Maybe Some Other Time, Journey, Killing Mad Dogs, Travellers, and Death of Yazdgerd, the study analyzes how spatial design, mise-en-scène, and movement through architectural environments shape narrative meaning and emotional depth. Drawing on theoretical frameworks from Juhani Pallasmaa, Giuliana Bruno, Renée Tobe, and others, the paper situates Beyzāêi's cinema within a broader architectural discourse, revealing how his cinematic spaces reflect cultural identity, psychological states, and transformation. Ultimately, the thesis argues that Beyzāêi’s films use architectural space as a cinematic language—one that is deeply embedded in ritual, memory, and metaphysical inquiry. ... Read more