Iranian have never been modern but rapidly modernized, and it is the forces of an oil-driven market that fuels the never ending cycle of production and consumption in their nation-state. The market demands depletion of natural resources in return for what is seen by the mainstream as “progress”. Utopic vision of progress is ultimately realized through vertical and horizontal development of Iranian cities. Thousands of construction sites within major cities attest to this nationwide desire to become modern! This creates a never ending demand for plethora of building materials, imported from outside of the country and paid for by its oil and natural gas trade. For over 40 years, Gholam Ali Beski`s private and public life was completely invested in preservation of Iran’s natural resources. His austere life style, and his unconventional way of making his points in heated debates were all a part of a form of resistance against the forces of consumerism. The project of Gholam Ali Beski`s house restoration to a cultural facility by his film maker grandchild (Morteza) is informed by this idea of resistance against the logic of operation of a market-driven economy. Not throwing out – Designing the design, out It is bad to throw out a plastic bottle. Imagine throwing out a building or elements or materials of a building when you are done with that. The project is a recycled space. Recycling and up-cycling the architectural elements and materials of the regional building is the driving strategy that guides all design decisions. It would be rather naive to claim that no “design” has been done for the project. Of course, all strategic decisions are part of the design process of any architecturally oriented project. Yet, “Design” with capital D is designed out of the building to arrive at a situation that can be characterized as “Spatial Austerity”. No flaw is covered by extra aesthetic layers, accepted as an inherent characteristic of material condition. Design is consciously limited to addressing technical issues. To offset Much like its owners, the building never loses its contact with what is left of nature within its urban context. There is no definitive architectural threshold that delineates the inside of the building as different from the outside. Instead, it is a spatial continuum of cinematic sequences that guides the occupants from the garden to the heart of the building. The urban border line of the building is saved, and its inward offset has created an in-between space. This buffer zone functions as the extension of the yard, embracing the building like a cocoon. To construct Farsh Film studio is a 3 story building, with 2 units that goes half access to the yard. A café gallery of Gholam Ali Beski`s achievements in the ground floor with an independent access makes a public space for the city. The 1st, 2nd and roof levels host Farsh Film studio, along with a series of social spaces. Masonry staircase on the northern side and steel staircase on the southern side spread view and communication corridors, also help the permeability and the fluidity to the multi-function levels. The roof garden is a space for open air cinema and gatherings.