If architecture is akin to «poetry,» then what happens here, in Tehran, Iran, is «profanity.» This notion emerges from the premise that architecture—understood as the physical manifestation of space—functions like a language in service of the dominant socio-political condition, often manifesting through the form of the city. Architecture, at its core, is inherently political, as space and the ways it is occupied are fundamentally political concerns. Through the process of searching, documenting, and archiving invisible and unexpected urban conditions, «Nonelements» builds a collection and a language of the «impossible». These emergent states of flux are not just objects of discovery but tools for rethinking the ways we intervene in the present.