?tehran is not only a city, but also a body to thousands of hidden scars? is the premise for sepehr maleki?s ongoing project, ?hidden scars?. the photomontage collection and theoretical proposal, sets tehran as a non-responsive mega city, ?a mother for countless fetuses that, like passive parasites, feed only on the host?s body?. the project explores constructions and high rises contrasting against the capitalist environment and the lack of humanity of the said structures.

 
 
maleki poses that from the beginning of modernity in iran and the reign of capital, fledgling capitalism has imposed a new hierarchy that has never been able to cover the wounds of both cultural and romantic relationships, as well as the impact of history on everyday life. the emergence of high-rise buildings as gigantic objects on the urban surface, resulted from a capitalist top-to-bottom process. they symbolize the glory of modernity and the state capital and are not necessarily meant to establish a dialogue with the urban everyday life, but serve as tools for nourishing and ensuring the life cycle of production and consumption.
 
 
the designer wonders, ?but where are the people?s scars" those real signs of life, signs of historical anger, anxiety, excitement, love, fear and apprehension, sadness and in other words a ?romantic experience.? the modern city negates all the chaos and hides the everyday lives of the people, to optimize the power of production and encourage consumerism.

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