From Asinara to Venice
curated by Annacaterina Piras
The Creative Community, composed of a diverse group including architects, artists, landscape architects, musicians, filmmakers and agronomists, embarked on the discovery of the resilient community of Asinara, an excellent example of evolution, adaptation and symbiosis.
The short film represents the immaterial work, that is the process that gave birth to the deep interaction of the Creative Community with the local context, humans and more than humans, creating a resilient and inclusive project.
It's needed to stop calling for a "return to normalcy" and understand that "normalcy" was the problem.
Together with the first residents, documentary filmmaker Floor Hofman moved into the second social housing unit of Taichung a few weeks after its opening. While living there for four months, Floor talked with residents about how social housing changed their lives.
This film brings the audience to a remote industrial area at the edge of Taichung, where the freshly painted social housing flat is located. Surrounded by factories and mountains the flat is a “Starting Point” for different groups of people.
Residents are coping with their new environment. Some start learning to live independently for the first time in their lives and encourage themselves to remain positive in this difficult time. Others feel reborn by leaving behind family structures and are excited to give shape to their new life full of freedom.
People in the neighbourhood become acquainted with the concept of social housing and meet their new neighbours. The government struggles with the strong stigma attached to social housing and the lack of government-owned land to build on.
Starting Points aims to weave complex social and personal situations into a quiet and patient narrative and was shown at the Architecture Film Festival Rotterdam and Docfeed.
Le Geste Final
La deuxième vie d’une porte / Nouvelles pratiques de Construction
The Stones of Venice
The Stones of Venice as a border area, a shelter for our subconscious space, a mimesis, an occasion to reflect our selves. They appears as a cartography made of solids, which resist, and voids. Of impulses and sounds. The statues, in turn, placed on the facades, seem dematerialized sentinels, guardians of this interior space, witnesses of what remains to crumbling.
The place seems a fantastic vision at the best, from which the world must at last awake some morning, and find that after all it has only been dreaming, and that there never was any such city.
William Dean Howells