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Synthetic beach
@Countless Cities Biennale (1st Prize)

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LIDO FAVARA

Synthetic beach

@Countless Cities Biennale (1st Prize)

Farm Cultural Park,

2021

La terrazza di Palazzo Miccichè, tappa di Countless Cities Biennale e culmine di Human Forest, è un luogo nobile ed informale, dove indugiare e sentirsi accolti. Un salotto in quota che invita a stendersi, a rilassarsi, a spiaggiarsi – a giocare con il corpo per innescare la propria immaginazione. Lido Favara si rivela all'improvviso come un paesaggio surreale di sabbia lavica, come un osservatorio che guarda fuori mentre si riflette dentro. E' una stanza annidata tra interno ed esterno, tra natura ed artificio, che mira a limare il confine tra l'imprevedibilità dello spazio pubblico ed il calore del focolare domestico.

Archivi d'amore

Le piccole stanze di servizio della terrazza si (ri)vestono per l'occasione, diventano familiari nelle finiture ed intime nei contenuti. Al loro interno ospitano una serie di ritrovamenti: il primo, sopra il battiscopa verde, è proprio la carta da parati stessa – riproduzione pop di un motivo floreale presente al pianterreno di Palazzo Miccichè. Entrando, nei cassetti di due mobiletti in equilibrio sulla sabbia, vi sono invece dei reperti autentici, che Favara – città fragile ma generosa – ci ha di colpo messo a disposizione.

Mentre stavamo allestendo il padiglione, infatti, è crollata una vecchia casa, del centro storico. La casa era disabitata da anni, ma non per questo vuota: avvicinandoci ai detriti, abbiamo chiesto in punta di piedi ai proprietari se potevamo raccogliere tutti quegli oggetti che a loro non interessavano – memorie visive e tattili di parenti a cui non erano legati o, chissà, che non avevano nemmeno mai conosciuto. Abbiamo scoperto un mare di bottoni colorati, pagelle, vecchi libri sottolineati, cartoline e lettere d'amore. Si racconta di fratelli partiti per la Germania, auguri fatti in ritardo, regali spediti con grande insuccesso, punti della spesa mai riscossi, peripezie per gli ultimi esami di Università. Questi frammenti che meritavano di essere raccolti, conservati, e, con cautela, mostrati.

L'archivio di Lido favara, inteso come uno spazio in comproprietà tra i cittadini di Favara e chi vi si affaccia per la prima volta, comincia proprio da qui - dall'intersezione amorevole di storie tangibili e ricordi materiali. Sarà un archivio aperto, che ambisce ad accumulare nuovi pezzi, che ambisce a costruire rappresentazioni molteplici del mondo e sul mondo di Farm Cultural Park.

Una spiaggia sospesa

Sulla soglia, un cartello raccomanda agli avventori di togliersi le scarpe: scalzi, d'altronde, si è più spontanei, più giocherelloni. Un gioco di specchi caratterizza poi l'intera terrazza come macchina teatrale, in cui poter calibrare, dosandole a piacere, illusione e realtà. Camminando a piedi nudi sulla sabbia nera, aggiustando lo sguardo per catturare immagini che rimbalzano, si ha l'opportunità di re-inventare il modo di stare insieme, condividendo creativamente spazi, gesti e momenti. Pochi oggetti adornano questa spiaggia raccolta ma volutamente brulla, libera da impedimenti: un rastrello per disegnare solchi, due lavavetri per mettere a fuoco le immagini riflesse e dei teli da mare dalle dimensioni importanti, per livellare le dune e ricostruire sprazzi di convivialità.

La cupola della Chiesa Madre, che a Favara svetta ovunque, sostenuta dai mosaici colorati della sua facciata, è qui celebrata, moltiplicata – apparentemente ingrandita nel riflesso degli edifici che vi si arroccano attorno. Di notte, la città diventa una lanterna corale, che penetra la terrazza, illuminandone lo sfondo – trasformandolo nello schermo di un cinema muto, naturale e perpetuo.

Designed and curated by

Lemonot

with

Andrea Bartoli

Florinda Saieva

Marco Bellavia

Carmelo Nicotra

Photos

Santo Eduardo Di Miceli

Performative pavilion
@Spazi Sospesi (Honorable Mention)

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IL GRANATAIO

Performative pavilion

@Spazi Sospesi (Honorable Mention)

Firenze,

2021

"Granataio" ( from "granata", which in Tuscany means "broom") is designed as a theatrical machine for the public space of Piazza Luigi della Piccola, consisting of 8 inhabitable and reconfigurable benches. It is a light, geometric and modular infrastructure, covered with 388 brooms - whose branched, resistant and flexible broomsticks shape a peculiar interplay between light and shadows across the entire pavilion. The brooms are recognisable elements from the everyday that invite you to enter this square: with its fibrous, raw and natural consistency, Granataio stands out against the rationalist and imposing background of the student residence.

The pavilion is fluid in form, in materials, but above all in use. As in a game at the scale of architecture, you can move the benches and you can have fun planning collectively different ways of meeting and sharing. More open for artistic performances, more enclosed and intimate for the workshops where you need to concentrate.

The 8 benches are built with plywood panels hooked to a structure in metal tubulars, on which 3 or 4 radial series of inclined brooms are screwed. The set of movable wings on wheels is sufficiently light (the weight of the brooms, per bench, does not exceed 60 kg) to be moved by two people. Each bench is an eighth of an asymmetrical circle, with the two ends of different sizes: one of 45 cm and the other of 135 cm.

When they are all side by side, the benches form an intimate and completely shaded space on the perimeter. However, this is only one of the possible spaces: like sails that plow the square, the wings can be repositioned with ease, creating multiple configurations that support the movements, desires and needs of those who populate the neighbourhood.

Granataio invites a direct exchange between people and the spatial artefact, stimulating a particular process of circularity within the neighbourhood: when the pavilion needs to be dismantled, everyone that has a relationship with the square - business owners students and all residents - will have the opportunity to get a broom, bringing home a piece of the pavilion, to continue to take care both of their households and of Piazza Dallapiccola.

The brooms become the symbol of the emotional and material continuity between the public sphere and the domestic space. The benches, “undressed”, will remain in the square, offering the opportunity to linger and rest that is now missing, while the metal structures can be the basis for swings and other games for children.

Designed by

Lemonot

with

Camilla Tinti

Gianmarco Dolfi

Performative pavilion
@Concentrico Festival (Finalist)

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SERMIENTO

Performative pavilion

@Concentrico Festival (Finalist)

Logroño,

2021

The project starts by a simple ritual: storing and reusing sarmientos - branches that are usually trimmed in winter time as a preparation for the vine season. We will collect the bunches from Bodega LAN and nearby wineries to turn them into a construction material. We want to celebrate these leftovers that are usually crammed and burned, by building a theatrical backdrop to the vineyard and El Rincón - able to welcome the visitors into its branches. The singular bunches, once accumulated into a curved, natural yet geometrical pile-up, create a vibrant space to be contemplated, touched and inhabited.

1200 bunches of sarmientos soar over the various trails and plots of Bodega LAN, highlighting the strong material relationship between the artefact and the context. They are interlocked within a wooden structure which is 16 meters long and more than 4 meters high. It acts as a skeleton for the sarmientos that, wrapping the entire structure, slightly cantilevered from its profile, create an heterogeneous natural cladding. This wall is composed of 14 vertical structural modules joined by 6 rows of horizontal bracing. Due to the modular grid structural system, it can be disassembled and built somewhere else in a short period of time. The overall wall dimensions can be adjusted and proportions can be calibrated. Its feet can also be adjusted on the topography of the landscape. The whole construction process can happen without the need of machineries but only through a slotting system mechanism.

The sarmientos stacked on top of each other invite glimmers of light to come through, drawing shadows on the ground and offering shelter from the sun inside the wooden niche. An oculus on one side frames the puente Mantible and the Ebro River. From the other side an enclosed window overlooks the vineyards, inviting people to sit on it and contemplate the grapevines. Its proportions are simultaneously generous and cozy: it becomes a refuge from which to observe the landscape and hear the sounds of nature.

The assembling and the dismantling is a collective process, in which the sarmiento bunches can be recycled either as compost for the grapevines or as embers for preparing a traditional asado.

Designed by

Lemonot

with

OfficeShopHouse

Edible pavilion
@Mextropoli Festival (1st Prize)

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GASTRONOMIC PALAPA

Edible pavilion

@Mextropoli Festival (1st Prize)

Mexico City,

2021

"La comida, más que las especulaciones místicas, es una manera segura de acercarse a un pueblo y a su cultura" Octavio Paz.

Alameda Central, once an Aztec marketplace, today becomes the context for the Gastronomic Palapa: a temporary polysemic place a public chillies dryer a cathedral of sounds and colours a convivial collective mesa

Octavio Paz describes how through the art of cooking we can talk about cultural identity. What we eat and how we relate to the food and resources we have today defines a cultural and historical debate. Completely made by Chiles Secos, the triangular-shaped dryer is constructed with a series of wooden arches forming an inverted thatched roof that acts as a communal palapa.

3500 bunches of chillies become the main elements to inform the materiality of the pavilion. They’re attached progressively to each wooden arch, creating a colourful sequence to walk through. The lowest entrance is at 2.50m from the ground, while the peak is at 6.5 m. The pavilion covers an area of 108sqm2.

The chillies knotted together define a variegated cloister where glimmers of light draw shadows on the ground made of recycled clay tiles, inviting the visitor to smells and colours in contrast with the jacaranda trees. Guajillo, Pasilla, Puya, Arbol chillies will be hung inside of the pavilion, safe from birds, but hot enough to dry throughout the days of Mextropoli2020.

The audience will participate in the drying process from arranging the chillies in green bunches, to observing them slowly turning into a bright red colour during the exsiccation. The last day, the pavilion will be deconstructed directly by the public who wish to take a bunch back home. Throughout the days, the chilli will become brittle to touch and their seeds will be heard inside when shaken.

The sheltered space communicates to the exuberant Alameda through a series of tables. La Mesa as a medium to connect interior and exterior, providing a fertile ground for spontaneous gatherings. Gastronomic palapa is an architecture to be bodily consumed.

Designed and curated by

Lemonot

with

Federico Fauli

Arquine

Inhabitable sculpture
@Neuchatel Competition

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TRIBAL CANDELA

Inhabitable sculpture

@Neuchatel Competition

Mexico City,

2020

Ten meters high, Tribal Candela is a form of permanent ars topiaria, an habitable metal sculpture, covered with the purple flowers of jacaranda trees which help to mitigate the environmental pollution and introduce buffering microclimatic variations in the city by nature.

Among the crowded streets, tribal candela becomes a shaded space to hide from the chaotic noise of the city. An urban soft canopy which resembles the thin shells, popularly known as cascarones, designed by Felix Candela.

The curve that rises upwards becomes a point of reference and meeting place - a spatial and sensorial experience through strong colours and smells. It is an architecture that makes you want to look up, through the opening cone to the sky.

Tribal candela invites you in, capturing your gaze in ordinary moments: from the outside it moves as if it was breathing, the leaves change color and are shaken by the wind, catching the viewer’s eye - framing the environment and the sky around

Tribal candela is a piece of work which becomes interactive through the users moving throughout the piece, changing character depending on the needs of the people. A space for the community to be used yet intimate and unique.

Once you enter, the sound of the frenetic city outside is muffled. You can use the space as a moment of peace, of play, of conversation or waiting. Tribal Candela is also a platform for observing people wandering from one sidewalk to another, shops opening and closing, cars and street vendors. A platform to observe daily rituals in Mexico city. A place to enhance everyday life; in a space that changes and evolves daily, where the users are the main protagonists.

The petals of the vaulted dome are constructed with a reticular steel structure, cladded with colourful and crafted textiles. The dome supports an actual topiary piece made of thin steel cage which lets the jacaranda flowers grow naturally through time.

Designed by

Lemonot

with

Federico Fauli

Images

Federico Fauli

Diego Ariza

Inhabi-Table
@Foodculturedays_competition

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HOU GOU FONDUE

Inhabi-Table

@Foodculturedays_competition

Vevey,

2019

All I want is a bowl of chop suey, A bowl of chop suey and you-ey, A cozy little table for two-ey, With a bowl of chop suey and you-ey. For a place that’s very Chinesy Is nice for a hug and squeezy, Where we can do a billion coo-eys With a bowl of chop suey for two-ey. Ben Bernie, Alyce Goering, and Walter Bullock, “A Bowl of Chop Suey and You-ey,” 1934, as performed by Sam Robbins and his Hotel McAlpin Orchestra

China was the first to attempt export of goods/ culture on a massive global scale with the Silk Roads. The trade routes not only became a way of exchange of goods but subsequently transformed into veins pumping culture, from one place to another. Food, music, art, language can be traced travelling this physical networks around the globe, in some cases adapted and re-appropriated whilst at others displacing what was once the norm.

The Silk Roads set the basis of a huge change from local to global, from intra to inter - globalisation; a word that has re-emerged as a concept with the boom of the internet and infrastructure and has overshadowed the world from early 90’s until today. Massive debates on the pros and cons - an open free market, cultural and material cross pollination, access to a global economy where countries have a voice outside the context they have operated for centuries. With the evolution of technology, the spread of knowledge, exchange nurtured this massive spread of ideas from micro to macro scale, from local to global. A dish invented in a street market somewhere could be scaled up into a world-wide phenomenon.

Yet the negative effects of this free movement of ideas, products, dishes infiltrating into different worlds and cultures has been alarming for some. The once tiny dish served in one area, scaled up and exported into different contexts cities overshadowing and ‘killing’ the local. Corporations capitalising on this dishes which in a way substitute local culture dishes and eliminating them.

This in particular has caused another movement against global food, against the faceless ‘corporation’ wanting to preserve the local cultures. Yet what is really local? We are at the point now that we are agonising on notions of authenticity, locality and truth. The term itself has often become a marketing construct to sell a product which has no longer a true identity. Locality has been bought by large corporations, wrapped and packaged and resold to the public.

Our project looks at how the Lazy Susan, an invention made in the US to share food on the table. It was exported and assimilated within China then re-exported back into the world. Our fascination with China and its long history exporting culture becomes the departure point and the main trigger for the Hou Gou table. We looked into Chinatowns and how these micro depictions of the mainland, emerge in every major city, showing how the country operates and handles physical and conceptual territory to establish itself in foreign lands.

This phenomenon of Chinese micro worlds, in cities around the world became the basis for our speculative fiction. Exotic islands floating against western cities, bright luscious red colours, exuberant pagodas and mythical dragons of the far east floating within our western cities of brick. We were interested not only in how their rich recipes and dishes are consumed within foreign territories but also how China has found a recipe to establish itself in the built environment and create a strong identity which can be easily replicated, pasted and appropriated around the world. Starting from a dish such as the hot pot, scaling up to the table, interior, street and whole building blocks, it has generated a robust presence and a business paradigm like no other. China has managed to export these conceptual islands to the rest of the world creating an archipelago of culture which infiltrates and enriches our cities.

Designed by

Lemonot

with

Urban radicals

Alberto Gramigni

Social table
@Ciciri via Lattarini

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TUTTI FRUTTI

Social table

@Ciciri via Lattarini

Palermo,

2019

Designed by

Lemonot

with

Francesca Leone

Francesca Malleo

Workshop and performance
@AAvs El Alto

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PORTABLE CHOLETS

Workshop and performance

@AAvs El Alto

El Alto,

2019

Portable Cholets: La mesa wants to experiment with anthropomorphic languages, ritualistic usages and composite video-editing - to re-enact part of the festive equipment that inspire and populate Freddy Mamani’s architectures.

Cholets are a privileged testing ground for these qualities: how can folkloric masks and costumes trigger an effective architectural cycle where inhabitation and aesthetic languages become mutually exclusive?

What is unique at a time where superficial otherness seems to have become the standard, where vernacular spontaneity has been replaced by overconstructed only polished photoshop images? El Alto gives us the opportunity to conceive architecture as a performative act - enabling the mutual immanence between bodies and spaces, objects and ceremonies. For us, performing fulfills necessities that have little to do with practical efficiency or quantitative variables. Rather, it is an evocative tool to activate symbolic links, to claim back identitarian needs and to depict qualitative hedonistic traits into physical spatial compounds.

Taught and directed by

Lemonot

with

Patricio Crooker

Marcos Loayza

Freddy Mamani Silvestre

AAvs students

Video

Alma Films

Inhabi-Table
@Hellowood Festival

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THE CARNIVAL TABLE

Inhabi-Table

@Hellowood Festival

Csóromfölde,

2019

In a contemporary society that is dangerously drifting towards alienation, mainstream architecture offers very little resistance. On one hand, massive real estate developments impose highly standardized forms governed by the logics of marketing. On the other hand, starchitects impose their superficial signature in an endless effort to be different from the competition. The actual users end up inhabiting spaces that represent very little - if nothing - of themselves. Ikea knick-knacks are the last resort to give a resemblance of identity to their homes.

Carnival was born as a temporary inversion of social conventions - can we speculate on how to invert reactionary architectural conventions? We want to use the ritual of eating and the symbolic power of a dining table - a place where people meet at the same level - in order to discard conventions and encourage a different practice of design, rooted in conviviality and freedom. By uncovering symbolic and social constructions through food, we aim to prompt a debate rich of symbolic explanations about human behaviour and rituals.

The table is an ancient place of unity, cohesion, equal exchange. Around the table the man enjoyed, rejoiced, but above all he told. From Plato's Symposium to Dante's Convivio, the stories that have been handed down before a meal are those that have invented and narrated the world.

We believe that it’s time for architecture to establish a new intimacy with its users, to become more human, to create culture and foster social interaction. With our Carnival table, we want architecture to provide space for self-expression instead of uniformity. We want architecture to draw people together instead of isolating them. We want architecture to be able to create stories again.

Designed and constructed by

Lemonot

with

Space Saloon

Collective Plant

Photos

Zsuzsa Darab

Farm Cultural Park, 2021
Firenze, 2021
Venezia, 2021
Logroño, 2021
Mexico City, 2020
Mexico City, 2020
Vevey, 2019
Palermo, 2019
La Paz, 2019
Budapest, 2019
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lemonot

Sabrina Morreale, AA Dipl
Lorenzo Perri, AA Dipl (Hons)

projects@lemonot.co.uk

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INFO Lemonot
lemonot

Sabrina Morreale, AA Dipl
Lorenzo Perri, AA Dipl (Hons)

18b Ferntower Road
N52JH London, UK

projects@lemonot.co.uk

ABOUT

Sabrina Morreale and Lorenzo Perri are architects, educators and founding partners of Lemonot – an open platform for spatial and relational practices, born in London on June 24th 2016, the day of Brexit, and now fluctuating among London, Italy, Vienna and Latin America.

Sabrina graduated at the Architectural Association in 2016, awarded with the AA prize. She’s currently teaching in the Foundation course at the AA and in the School of Architecture in Reading.She has taught in Cambridge, while collaborating with various magazines (Rivista Studio, Cartha, Elle), with the RIBA as curator assistant  and with multiple architectural firms in London (OMMX, The Decorators and Office S&M), Her projects always explore notions of fragmentation, assembling techniques and authorship.

Lorenzo graduated with Honours at the Architectural Association in 2016. He’s currently teaching at the University of Applied Arts in Vienna and he’s a consultant for Experimental 9 at the AA. While participating in several competitions with international firms (Amid.Cero9, Elemental), he co-founded the research-based Plakat Platform and the architectural studio Ecòl. Obsessed with geometry and aesthetics, precision and expression, he studied engineering and classical piano before working in architecture.

Through Lemonot, they operate in between architecture and performative arts – using them as devices to detect, celebrate and provoke the spontaneous theatre of everyday life. Spatial production is neither the beginning nor the end of their stories, rather it is a filtering framework to grasp reality. Architecture becomes a medium to produce heterogeneous outcomes: from geometrical patterns and still-lives for the public space to pastry tools and toys, interactive pavilions, short films, performances and embroidered masks.

Their projects have been exhibited and awarded worldwide – at the Venice Biennale, at the YTAA (Young Talent Architecture Award) 2016, at the ATT19 Gallery in Bangkok, at the RIBA (Royal institute of British Architects) Live Drawing Marathon and at Mextropoli 2020 in Mexico City among the others.

Hungry observers and compulsive collectors of anthropic mirabilia, they’re interested in all those iconographic gestures that enable the mutual immanence among objects, bodies and rituals. In particular, their work attempts to define peculiar architectural settings for updated gastronomic performances, with the aim of revealing the symbolism behind food preparation and consumption.

They have been teaching together at the AA Summer School since 2016. In 2018 and 2019 they taught as Adjunct Professors at INDA in Bangkok and they’re now programme Heads of the AA Visiting School El Alto (Bolivia).

Their academic research focuses on contemporary forms of conviviality – as a trigger for unconventional spatial languages, between geometrical abstraction and material figurativism.