Neighbours. Day Two


Ricardo Alcaide (Venezuela)

Living and working in Sao Paulo for the last years, after more than a decade in London, and previously in my hometown Caracas is an experience that still informs my practice and has been strongly influenced by architects like Gio Ponti, Carlos Raul Villanueva and Lina Bo Bardi, for example, who projected a great spirit of forward thinking and an extraordinary sense of aesthetics, -something that I cannot avoid to express myself. Latin-American architecture, or even generally speaking, is not only as a reference for my work but also as a way of living, a day by day personal exchange that affects the way I think, I function and interact with the world.

The work for his current solo show in Miami at Alejandra Von Hartz proposes a dialogue between all these concerns -the balance between formal aesthetics of modernism and the utopian impossibility- captured within the combination of found objects and the abstraction out from them, as in the Settlements installation, a construction built out of found disposed objects, next to a display of a small group of bronze sculptures of crushed cardboard boxes and other rejected material. Excerpt from his current exhibition, Displacement: The act of displacing, or the state of being displaced; a putting out of place.



La Menagerie
Stefan Paul Sauter (Costa Rica)

For years, the main mechanism used to advance the architectural discourse has been the manifiesto. However, due to the disappearance of a heroic image of the architect heightened by the global crisis of 2008 and the infinity of information provided by contemporary media, postulating a manifiesto proves to be a challenge for new generations. How then does a new generation of architects advance the discourse when the manifesto has lost its power? The noun “monster ” comes from monstrare, (to show) and monere (to warn). Just like manifestos, monsters mark the boundaries of cultural value. Beyond fascinating, frightening and attracting our attention, the importance of the monster as manifesto is used metaphorically to give explanation to the unknown and to establish a controversial shout to advance a social or moral point of view.
This research is not intended to demonstrate that a monstrous architecture exists but instead it is aimed at the generation of an alternative vocabulary that can reveal relationships in architecture not previously considered. If monsters are postulated as a reverse reflection of the cultural values of the time, the current fears in this tropical city have much to do with the disappearance of public space and the simplified solution to the problem of urban insecurity with razor wire, electric fences and steel mesh. Rather than speaking in defense of architecture, the city of San José speaks of an architecture of defense.


Mil M2
María Constanza Carvajal, Diego Cortés, María José 
Fernando Portal, Pedro Sepúlveda (Chile)
Photo: Proyecto Pregunta.Presentación de preguntas, Bilbao 511

Mil M2 (one thousand square meters) is an interdisciplinary team focused on the temporary use of empty infrastructure in Santiago de Chile. We seek to activate communities and territories through the collective generation of content.

Proyecto Pendiente is our second temporary use project. After the demolition of our first space – a Centre for Civic Engagement and Innovation – Proyecto Pendiente involves the refurbishing and programming of a site specific gallery in the upper plateau of Teatro Italia, a formerly social cinema built in 1934. This proyect will bring new uses to this space, between October 2014 and January 2017.

Neighbours. Day One

Domino Effect
Donna Conlon y Jonathan Harker (Panamá)

Historical architecture in Panama City is not appreciated, and is usually replaced with shopping malls and high-rise condominiums. Development for development’s sake seems to be a process that, once set into motion, cannot be stopped, like a chain reaction of dominoes toppling. One exception to this phenomenon has been the Casco Antiguo, the old quarter district located on a small peninsula in the Bay of Panama that has been protected as a UNESCO World Heritage Site since 2003.

Its World Heritage Site status is now in jeopardy because of the construction of a government sanctioned multi-million dollar marine viaduct around the peninsula. In its frenzy to tear down and re-build everything for a quick buck, the government even tore up the old cobblestone streets only to re-pave them with new, inferior bricks. In Domino Effect, Conlon and Harker create a domino-like chain reaction through the neighborhood’s streets. The dominoes themselves are the discarded antique colonial era bricks that were ironically used as landfill material in other parts of the city. As in previous collaborations, this video results in a pointed and poetic social criticism.


Faraway Brother Style
Walterio Iraheta (El Salvador)

The photographic series Faraway Brother Style by Walterio Iraheta parodies the international publications by Taschen concerning architecture entitled New York Style, London Style or Paris Style, focusing on the emigrant architectural style in El Salvador: Faraway Brother Style. The term “hermano lejano” [faraway brother] refers to a friend or relative who emigrated from El Salvador, generally to the United States, and who sends back money that helps the family finances of the Salvadorians. Iraheta resorts to a photographic series to identify certain recurrent patterns in this new style.

He calls attention to substantial changes in the architecture of rural zones, where amongst modest houses there now begin to sprout “small-scale castles or palaces” of various floors. Built in an eclectic form that freely blends columns, decorative elements, colors, arches and ceramics of classic, baroque and kitsch style; or even the North American style of the shingled roof sloped for snow, transplanted into the hot climate of El Salvador. Iraheta’s series identifies the way of life of the Salvadoran emigrant as a particular style in its own right, like that of one of a metropolis; approaching the concept of style more in terms of a way of life than frivolous and arbitrary connotations of elegance or good taste.
 Text by Alfons Hug and Paz Guevara, 54 Venice Biennale curators.

La Perla Bowl

La Perla Bowl
Chemi Rosado Seijo (Puerto Rico)

In 2006, La Perla Bowl, a Skateboarding Bowl and actual pool on the weekends was completed. Done in collaboration with Roberto ‘Boly’ Cortés, a veteran skateboarder since 1976, in teamwork with the neighbors from La Perla community, and with the help of skaters, surfers and people from around the island of Puerto Rico. The bowl was handmade and collaboratively built in front of the Atlantic Ocean on reclaimed land, outside the Old San Juan walls, like the community where it stands. The La Perla Bowl has gained international recognition through skateboarding magazines and ads, including a billboard In New York City Times Square.

#Fall4Ravines Photography Exhibition

To celebrate the ravines and their central place in Toronto’s emotional geography, the Friends of the Greenbelt Foundation and Patagonia Toronto launched a call for submissions for a special photography exhibition illustrating the ravines: #Fall4Ravines.  More than 250 entries were submitted by the public using Instagram and tagged with the hashtags #fall4ravines and #lovetheravines, and the top 25 images were selected for exhibition by Phil Anderson (Executive Director of Gallery 1313), Jason van Bruggen (Partner at Dot Dot Dash), Megan Torza (Partner at DTAH and curator of RavinePortal) and Susan Drysdale (Digital photographer).  The exhibition is now hanging at Patagonia Toronto (500 King St. West), and available for view from November 6 to December 5.


The selected images on display at Patagonia.

The selected images on display at Patagonia.

The three winning submissions in the #Fall4Ravines photo contest.

The three winning submissions in the #Fall4Ravines photo contest.

TLV CBS: Portrait of a Station

A documentary project creating an archive of short scenes filmed in stores across the Central bus station by Inbal Shirin Anlen in the past 18 months.

The artist has created an online platform, making use of the numbering codes and stickers for spaces within the station (floor-street-shop – i.e 2-2-54), in addition, the videos are also presented with QR codes located near the stores. These are everyday moments from the station’s people lives, sometimes seems isolated and stable, in contrast to the hectic movement of people around them. The archive offer the viewers to take a moment and stay with the people of the station, to look at them and experience the spaces and stories creating this place.





Reveries du Promeneur Solitaire: Stewart and Revett’s lost temple @ the temple of Artemis Agrotera

At the context of “Revivification of Ancient Ruins”, in collaboration with the Cultural Association ARDITTOS, we present the urban performance “Reveries du Promeneur Solitaire: Stewart and Revett’s lost temple” by Hariklia Hari. The performance was held at the courtyard of the temple of Artemis Agrotera-Mets.


SONY DSCStewart and Revett

Stewart and Revett

Performance by Hana Erdman & Jasmin İhraç with sound by Steffen Martin.

Erdman and İhraç facilitated a public meditation of folding and unfolding objects of exchange. For this performance, they used Turkish towels, some of which are hand-woven and others machine-produced. The production of both versions involves repetitive movement that informed this performance. It invited the public to participate.

Hana Lee Erdman is an artist working and living in Berlin. She deals with choreography as expanded practice, approaching performance from both embodied and visual disciplines. She received a Masters Degree from the Inter-University Center for Dance (HZT), University of the Arts Berlin.

Jasmin İhraç is most interested in the interplay between political activism and artistic work, and explores how the political comes to its dance and dance finds its politics. She studied sociology at the Freie University Berlin and Contemporary Dance, Context and Choreography at the Inter-University Centre for Dance (HZT) in Berlin.






Archaeological site of Artemis Agrotera, investigating the context @ The Athens Center

Microgeographies present ” Revivification of Ancient Ruins “: a unity of site-specific art works and public discussions, regarding the possibility of incorporating deserted archaeological sites in the everyday city life, starting from the remains of Artemis Agrotera Temple. At this context we presented the photographic presentation by architect Iosif Effrainidis and artist Panayiotis Lamprou titled: “Archaeological site of Artemis Agrotera, investigating the context”. The presentation was held at the educational organization “The Athens Center”, in collaboration with the Cultural Association ARDITTOS. A discussion followed.

10806378_10152548524482428_2853282264043895552_nMicrogeographies project focuses for the third time on the site of Artemis Agrotera Temple, one of the most important archaeological sites in Athens located in the area of Ardittos – Mets, at the block bounded by the streets Ardittou, Thomopoulos, Kefalos and Koutoula. The history of the temple is directly connected with the Athenian victory at the Battle of Marathon (490 BC), , and the cultural flourishing of the city of ancient Athens. In 1778, the temple was demolished and its material was used for the construction of the Ottoman fortifications around Athens. On 06.17.2014 the 3rd Ephorate of Prehistoric and Classical Antiquities of the of the Greek Ministry of Culture announced that in the East part of the site they discovered the foundations of a second temple dedicated to “Zeus Meilichios” . Reference to the temple of Zeus is made by Pausanias and the new discoveries confirm its topography at the site. Today this particular archaeological site is fenced and invisible from the road, and is an archaeological-urban void in the area. Microgeographies contribute to the need of the local community to incorporate the Mets archaeological site in the everyday life of the neighborhood, and to their will to point out its importance as a local and international historic site.


Beyond Walden (on Thoreau’s Cabin) @ Office

Beyond Walden (on Thoreau’s Cabin) is a site specific installation (video/sound installation, wooden cabin) by Rika Krithara: “Based on Thoreau’s cabin, an installation about the safety of the shell. Constructing collectively a deserted, sinking cabin inside an abandoned architectural office, habitation widens negating the protective shell of a clear, expected structure. The potential of a fixed point of philosophical and poetic isolation transforms: the possibility of freedom is everywhere, in the infinity of the horizon. All possibilities are open – a vast space, this is “Walden”.



Beyond Walden_Rika Krithara

Beyond Walden_Rika Krithara



The New New Station

In the 1940’s, Tel-Aviv’s old bus station was established in Neve Sha’anan neighbourhood, not far from the city center, but far enough to disregard. Like in many other cities, the terminal area became a center for all that society wishes to repress – prostitution, drugs and urban filth. It was also a place for great cheap shopping and a huge mixture of colours, smells and options. in 1993, after 26 years of on-off construction, the new central bus station was opened. Like a concrete baby with geriatric problems, the huge station’s opening brought waves public scrutiny, with any predicting its failure. And it failed. But still, today it hosts people from dozens of countries living in the area, crowded public venues, food stalls, karaoke, shops and events, and a fantastic lively atmosphere as the main commercial center for the entire area.

But it’s 45% abandoned, neglected, dirty and unsafe.

What could the new new station be like?


Ottoman delicatessen by Ece Pazarbasi: Rice with Mussels & Semolina Helva.

Ece Pazarbaşı offered delicatessen from the Ottoman period in reference to the performers Erdman and İhraç. Evolving around the issues of body and the time span of the body, Pazarbaşı offered spicy rice with MUSSLES and a special Helva that is offered after funerals.
In her conceptual cooking practice, Pazarbaşı uses existing recipes to re-define contemporary situations and conflicts and to create a change in the audience’s perception regarding these situations.

Ece Pazarbaşı works and walks on the merged borderline of curatorial practice, artistic research and alternative education. Since 2007 she has been curating public space projects and audio tours in the urban and rural domains. She was a fellow at the Institute for Spatial Experiments (O. Eliasson) and is currently a MFA/PhD Students advisor at New York Transarts Institute’s Summer Academy in Berlin.

Our stall in the Markthalle Neun.

Our stall in the Markthalle Neun. “Rice with Mussels.”




Editions for rice with mussels.

Editions for rice with mussels.