Collectivising a Vertical Garden

The Vertical Tea Garden > Work in progress + how it works + it grows!
Will be located at the 7th floor of Tel Aviv Central Bus Station // WWSf Tel aviv.

The Pipe Huggers
Many of us shared a fascination to vertical agriculture, the fact that you can stack plants, hang them on walls and they’ll adapt, blossom and provide. perfect for city dwellers. So we’ve experimented with PVC pipes we found in the street, and vertical guerrilla gardening came out.

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What’s the story of these magenta pipes?

The scale changed after a trip to a pipe factory in the north of Israel. The original purpose of these pipes is municipal infrastructure and pink is the code for effluent re-used water. The factory introduced us to their assembly line and the waste material that cannot be recycled and is currently shipped far from sight to China. In other words – dead material which will take centuries to decompose.

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With a little help of friends we’ve managed to ship some pipes down to Tel-Aviv, and examine the behaviour of this sassy material. Soon it became one of our favourite objects to work with – upcycling, creating different prototypes of vertical gardens and experimenting with the communal effect. Now we got to know the neighbours, talk to strangers and surprise some random pessimists. The open development process included industrial designers, architects, agronomists and urban farmers, one clever physician, neighbours, and other members composing Onya Collective.

A / Prototype 1 – Jaffa, Margoza st. / Guerilla Public Garden



B / Prototype 2 – Vegi-Bench, with Ghana Think Tank, ‘The Infiltrators’, Artport Tel-Aviv.


C / Irrigation + Structure

In summer months, a well known hazard in Tel-Aviv is air conditioners dripping large amounts of waste water on sidewalks and on people’s heads. A capillarity based low-tech vertical irrigation system, with no need for pumps or computers, has been developed to make smart use of the waste water and distribute it between planters, using the strong plastic structure as columns hiding a reservoir.


D /  The 20 meter long Vertical Tea Garden – in progress
Will be presented at the WWSf opening in Tel-Aviv / New York

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(études préparatoires) Interacting with the site @Office


It’s happening now: Katerina Zafeiropoulou is drawing the leaves of the trees from the park by the office’s window.

Katerina says: I am trying to experience the “being” of the outdoors. Only a transparent boundary is separating us. So many differences, but everything can happen. I imagine that if I draw patiently I will be able to understand. Probably now “image” and “truth” are more confused. The landscape invaded into the room.

Polígono Central: a memory of the future

Polígono Central: un recuerdo del futuro

Dialog moderated by Emil Rodríguez Garabot (architect, urban planner) // Conversatorio moderado por Emil Rodriguez Garabot (arquitecto, urbanista)
El Polígono Central is a contradictory object. On one hand, as a consequence of the suburban expansion that started in the mid 60’s, it is attached to the memory of it´s natural landscape and tropical utopia. While on the other hand, it presents itself as a mirage that projects the current obsessions and aspirations of the uncertain future of the middle class, and an intense capitalism. Any attempt of conciliation would instantly become a promise.
The conversation seeks to illustrate the functional logics of this sector, where urban and social infrastructures are on the verge of collapsing. Will it be possible to reconnect El Polígono Central with the city of Santo Domingo?
Emil asked each of the participants to bring an image or object that will help explain the Polígono Central as an isolated object.
El Polígono Central de Santo Domingo es un objeto contradictorio. Por un lado, como consecuencia de la expansión suburbana de mediados de los años 60’s, está atado a la memoria de su paisaje natural y a la utopía tropical , mientras por el otro se presenta como espejismo de un presente que proyecta las obsesiones y aspiraciones del incierto futuro de la clase media y de un capitalismo exacerbado. Cualquier intento de conciliación se convierte instantáneamente en una promesa.
En este conversatorio buscaremos ilustrar las lógicas de funcionamiento de este sector hoy, ante la amenaza de colapso de sus infraestructuras urbanas y sociales. ¿Será posible reconectar el Polígono Central con la Ciudad de Santo Domingo?
A cada uno de los participantes se les pidió que llevaran una imagen u objeto con el fin de trabajar la idea del Polígono Central como un objeto aislado.

Domingo Contreras, politician, environmentalist.
In the 60’s, the urban footprint that we now know as Polígono Central was basically green; in its plots single-family housings with gardens in the front and backyards were being built. Today that footprint has been inverted; as of the 90’s the transformation of urban ground has sped up, endorsed by ordinances without environmental regulations, where government institutions have relinquished public land for the construction of private buildings.

Rosy Ramos, art curator, co-founder of Ramos y Mederos Gallery.
Urban transformation in the Polígono Central is the result of a self-centered lifestyle that had its origin in contemporary society at the beginning of the 60’s. A period when an empty aesthetics promoted the reconstruction of an ever-growing exuberant body. The bid for verticality is exemplified from the parallelism between the new buildings of the Polígono Central and the use of artificial implants. Opening a window to question from different fields, how urban space is generated.


Eduardo Villanueva, choreographer, journalist.
An anecdotal vision narrated by a person born in the 50’s, when the center of Santo Domingo was La Ciudad Colonial and the Polígono Central was a field on the outskirts of the city. Telling his adventures and movements in this urban conglomerate, he shows us certain nostalgia for the historic zones of the city, where he currently resides, and a certain alienation from the Polígono Central, where he currently works.


Raúl Recio, visual artist.
Through a performative attitude, he suggests how the current real estate whirlwind is lead by the chopo dominicano condition. His speech questions the Dominican governmental machinery, where personal gain is favored over the common good, distorting the state’s capacity to educate.

Quisqueya Henríquez, visual artist.
Introduces the concepts and methodologies used in three of her projects that cover urban space and presents a speech where the question arises as to how power structures, social dynamics and the individual influence of the construction of urban landscape. Quisqueya’s explorations reveal conflictive situations in the city, which replicate throughout the rest of the city, including the Polígono Central, where she resides.

Ching Ling Ho Shum, architect, co-founder of the art gallery and architectual studio ELE7
It is a difficult endeavor to walk in the city of Santo Domingo, transportation is private and motorized. This urban condition has driven the proximity business for excellence, the Colmado, to include in its staff the Delivery, which is presented to us as an urban hero. This anthropological narrative maps the journeys and experiences of this figure who transits the streets of the city on his motorcycle delivering the orders without a minimum fee. This hero supplies the distribution of drinking water, since in Santo Domingo the water from public pipes is not apt for human consumption.














Tropical Launch @ Plaza Naco

Juanjo Cid reading our program. Photo: Maximo del Castillo

Juanjo Cid reading our program. Photo: Máximo del Castillo

Plaza Naco is one of the most emblematic group of buildings in the Polígono Central. It was named after its developer NACO, acronym that stands for Compañía Nacional de Construcciones (National Construction Company).  It represents the turning point to vertical growth in Santo Domingo. In 1968 La Cumbre was completed, a 12 story office building and a 2 story retail block (Naco I). By the end of of the 70’s it was consolidated as the first shopping mall of Santo Domingo (Naco 1, 1968; Galerias Naco, 1970; Plaza Naco,1976) replacing the tradicional comercial zone located at Ciudad Colonial (old quarter). In the 80’s, Plaza Naco was a place of splendour, where the emerging bourgeois went to shop and socialise. Towards the end of the decade the place went down on flames, giving way to its comercial decay. The south entrance of the mall was kept alive throughout the 90’s, thanks to the weekend gatherings of young people in front of the now vanished movie theatre Cineplex. This decade welcomed new bigger shopping centres which would substitute the emblematic Plaza Naco as a place of encounter and consumism.

Tropical Ghosts was launched on the 26th of september, occupying the aforementioned south entrance of the Plaza, dressing it up as a modern front yard gallery. A revival of the now lost encounters that took place twenty years ago, where semi-public space served as a site for the exchange of views and ideas.



Photo: Máximo del Castillo

Tropical Launch

What’s a ravine?

Don Valley Ravine

The Don Valley and its Ravines, photo by Vito Riccio




1.  a deep narrow steep-sided valley, especially one formed by the action of running water
Word Origin:
15th century, from Old French: torrent, from Latin rapīna robbery, influenced by Latin rapidus rapid, both from rapere to snatch

Storefront Marketplace kicks off at the Hmong market in Saint Paul, MN.

Hmong market_cover image_120dpi

Storefront Marketplace infiltrates itself into three different market environments in the U.S. and Europe. Starting at a Hmong market in St. Paul, Minnesota, it travels to Thessaloniki, Greece and integrates itself into the city’s urban fabric and multi-layered, multi-cultural history. It resumes in Berlin, Germany, in an old restored indoor market. Its interest lies in investigating and experimenting with the marketplace as a space for exchange through performances, food, sound, and objects. An artist run program of films, lectures, performative interventions, radio programs, and culinary events engages and addresses large, central civic constituencies.

Featured artists and participants: Pauline Beaudemont, Hana Erdman, Jasmin Ihrac, Atalya Laufer, Emeka Ogboh, Ece Pazarbasi, Emily Stover, Fres Thao, Agustina Woodgate with Pao Houa Her, University of Minnesota College of Design, and many other local artists and architects.

Micro Ecologies in the Notorious Mega Bus Terminal

Movements such as Urban Agriculture, Guerilla Gardening and Micro Gardening have been expanding globally and redefining what nature means in a city. These alternative communities attempt to incorporate natural eco-systems into the city through a variety of activist methods. Many of these experiments still seek the right balance between technical viability, sustainable production and aesthetic design.

The Neve Shaanan neighborhood in south Tel Aviv is plagued with severe social and racial problems. In the heart of the neighborhood stands the ‘New Central Bus Station’, one of the most hated buildings in Israel. The oversized, half abandoned building, mainly inflated by 1,500 pre-sold shops that funded the construction, was the largest bus terminal in the world from the beginning of its construction in 1967 until it was overtaken by Delhi in 2010. CBS is notorious for a mile long elevated ramp connecting the air polluting terminal to the nearby highway, a maze-like circulation system and sealed facades aimed at getting people to wander endlessly between shops.

Through acts of green acupuncture, a series of horticultural and agricultural interventions will be placed in select locations within the dissonant context of the massive and polluted concrete building, hosting thousands of buses and people each day. Some of the works will be built by Onya collective while others have been selected through an open call for artists, farmers and small and innovative agricultural partners throughout summer of 2014.

In the next few months we hope to raise public awareness locally and globally regarding these issues:

  1. Re-purposing of abandoned and low value urban areas towards positive change through small interventions
  2. Creation of sustainable systems that tap into the excess capacity in the urban infrastructure and make use of its potential
  3. Building and sustainment of a community through collaborative endeavors
  4. The use of art, nature and digital media as interactive tools to engage people in the act of shaping their city
  5. Experimentation, discovery, and the sharing and dissemination of knowledge in the increasingly relevant field of urban farming