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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

Performative meal
@casa di Belmondo

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CIRCOLO

Performative meal

@casa di Belmondo

Belmonte Calabro,

2020

U miegghjiu cumpani è u pitittu. Appetite is the best side dish.

Who designed the lunch? Who did it? The guests, who have become actors and actresses, creating space rather than just inhabiting it - staging it. Their gestures - movements, glances and grunts - which activated abstract, otherwise dormant forms. However, this system of multiple relationships was suggested precisely by those dormant geometries - meant as neutral platforms to awaken intuition. The ingredients - artificial or organic, edible or nearly toxic - everyone juggled between. And then those who procured them for us, with patience, kindness, timeliness and mastery.

All we had to do was to blend everything as you would do in a complex recipe: one of those dishes with many flavors, which must all be distinguished. The intent was to portray different but compatible pieces of everyday life together, and to mix many stories around a large table set - at the scale of the landscape.

There was a great confusion, it seemed a cauldron of bodies, which, moving and eating together, built the space of their own stage. The pungent smell of salmoriglio was more present than the din of the diners. They all cackled, but with their hands, not with their voices: they were absorbed in a sort of industrious silence, busy grabbing and biting the wild cuttlefish, which, roasted on the grill. It was in that precise moment that a week of discussions about what were the role, the identity and the destiny of the Seppie di Belmondo came to a conclusion. The moist scent of pine bark - apparently crunchy, it made you want to eat that too - was a counterpoint to the coldness of the oxidized metal. Those hard and inflexible circles on top of the ground had been forged by a good giant like Gennaro, a blacksmith from Cosenza with such affable, soft manners. They were tables, pans and bowls, inviting but fortunately really rigid, the only cornerstones of that suddenly initiated dance. Everyone was swiftly going back and forth, finally aware of how to recognize the safe parts of the garden, where they could walk, sit and let themselves go. The Seppie and the roasted cuttlefish were scattered everywhere, but they also orbited around one of the round platforms to which that gastronomic procession was anchored. A little further on, there were heaps of colorful fried vegetables, cultivated with enthusiastic effort by Mariella among the ups and downs of Spineto and cooked following precisely all her suggestions. As a last, more orderly outpost, there was what could not be missing: a row of Belmonte tomatoes, cut into thick slices, arranged like colors on a palette and seasoned theatrically from above, as in a propitiatory dance. At first no one came close to them, since those tomatoes seemed so composed, almost inviolable - you could no more than dare to smell them. But then, as soon as someone started to creatively imagine ways to handle those deliberately inflated proportions, the whole symphony of cheerful disorder naturally started right there, from the tomatoes.

We wanted to construct a simple ritual, in which particular habits could emerge and adapt to each other, stimulated by the right architectural props. Actually we hoped, and it happened, that those who were there would eat and perform spontaneously. We didn’t aim to transfigure routines into exceptions, rather we aimed to finally reveal them as exceptional acts.

Directed and curated by Lemonot

with

La Rivoluzione delle Seppie

Photos

Silvia Gin

Nicola Barbuto

Luca Pitasi

Margherita Manfra

Pavilion
@tbc

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OASI DEI GOLOSI

Pavilion

@tbc

Palermo,

2020

WIP - Coming soon!

Designed by

Lemonot

with

PuccioCollodoro Architetti

Land Art
@Masseria Cultura

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MARBLE SALAD

Land Art

@Masseria Cultura

Puglia,

2020

“Marble Salad” is the main of three spatial still-lifes that have been developed throughout a month-long artist residency at Masseria Cultura, an old vernacular mansion situated in the middle of the countryside in Puglia, Italy.

The project reuses marble debris, collected from various refineries, located in neighbouring villages - then manually interlocked to compose a 4x4m solid platform on the ground. The surface could act as a walkable floor - a stage - or just as a contemplative device - an horizontal tactile and colourful canvas. The precise definition of its borders clashes with the wilderness of the open fields in the backyard of the mansion that surround it.

This area will be soon cultivated and transformed into a vegetable garden - rows of zucchini, aubergines, tomatoes, peas, carrots and purple cabbages will become the updated bucolic frame of the platform.

It’s almost a process of inverted mimesis: the marbles’ polychromy anticipates the organization of the vegetables - the artifice discloses nature.

The notion of time has been fundamental for the artworks, dealing with it in different ways. “Marble Salad” will act as a proper still-life, a permanent frozen snapshot immersed within an iteratively changing environment - the hortus. The other two interventions are instead more ephemeral: “Tra-Forato” is a totem made of hollow bricks, a stage-set for the landscape, a portable scenery flat to frame and construct specific viewpoints; “Red Carpet” was our first spatial intuitive rehearsal in the Masseria, an ironic commentary on the re-usage of humble debris.

The context allowed you to be immersed in nature, fostering both a metaphorical and physical dialogue with the landscape: this dictated not only the timing of the project but also defined the way we used certain materials - exploring issues of permanence, ephemerality and construction rhythm.

The three installations are the result of the collaboration with local old crafters, becoming almost built embodiment of the precious relationship we managed to establish with all of them.

Designed and constructed by

Lemonot

with

Letizia I. H. Tueros

Photos

Nicolò

Urban park
@Larnaca international competition

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SALINA ARCHIPELAGO

Urban park

@Larnaca international competition

Larnaca,

2020

The proposal aims to work with and enhance the main characteristics of the plot, both physically and conceptually, to achieve a composition in the form of a large three dimensional mosaic or tapestry.

There are three main threads in which we researched and unpicked the site and its history: -A former tree/flower nursery for the municipality; -The infrastructural antiquities found hidden under or emerging from the ground which show Larnaca’s rich history and importance in the ancient world; -The inherent etymology “Salina” as a place to harvest and store salt in mount forms which are recorded in paintings and drawings until the 17th century.

It is along these threads that our proposal weaves and layers a variety of systems of gardens and public activities, sewn together in an interplay of colour, size and geometry, to celebrate the multi-cultural past and present of the city as a port: a place of import and export, a cultural hub of multiplicities and nationalities, gathering around the Mediterrenean coast.

The synthesis of the organisational system of the park uses a grid of watering infrastructures emanenting from the ancient aquaducts of the area and incorporates all the existing trees, embedding them into the backbone of our landscape whilst meeting the practical/ technical requirements. The system is a working motherboard or green lung which aims to give back to the city and its people.

Space syntax and compositional method. From notation to architectural plan: -The plot is a canvas. From its inception, the proposal attempts to incorporate the existing natural characteristics and planting which assume a primary role in the composition. These trees become preliminary nodes in the evolution of the drafting and compositional system of the proposal. -A bold continuous loop takes form around the park boundaries, weaving the entire site as one generous simple gesture that seeks to define the space. This becomes the main access route and the synthetic element along which our proposal evolves. -The circular motion creates two opposite diagonal subdivisions that we envision as a rock garden. These spaces offer a natural low maintenance setting. -A horizontal frame is applied to highlight the existing perimeter path and to restore the existing circulation route of the plot. -The horizontal bead or threads of the frame extend from west to east to add an element of rhythm, distance and scale. This becomes part of the system and practical logic for the design of the park that incorporates water systems and determines distances for its planting by adding structure and color. We connect this system to the existing trees to organise the core of our archipelago. -An archipelago of islands are therefore anchored along the horizontal grain of the tapestry and incorporate the existing geometries of the space, as well as trees, which we studied during our visit to the site. The goal is to tease out the concept of land management, ‘archeology’, of tree nursery and garden. The islands introduce varieties of field typologies, vegetation, colours and activities in the park, amalgamating in the composition.

The planting scheme establishes a natural design which includes and respects the native species and the existing vegetation. The proposed vegetation is resilient to Cyprus weather, in particular the drought of summer months. One of the main features of the proposal is its materiality, inspired by the geology and history of the city of Larnaca. Raw materials and materials from the earth, are managed with different techniques and energies to create a new topography with parallels to quarries, the Salina and the gardens.

In any form of artificial garden or partially landscaped garden there must be an underlying structure; a canvas or grid geometry to define and structure the systems. This is also similar to the natural weaving of a piece of wallpaper but also the creation of a multidimensional landscape composition that incorporates structure, depth and colour to make it understandable and beautiful. Visitors are free to roam and immerse themselves in this rich, thick tapestry of composition, with paths of experiences and scales that bring elements of Larnaca as a natural landscape into a miniature cartography, a physical archive to be mentally absorbed in its entirety and for one to dwell upon.

Designed by

Lemonot

with

Urban Radicals

Christophoros Kyriakides

Adam Harris

Images

Sonia Magdziarz

Inhabi-Table
@AntePavilion competition

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LOVE 19

Inhabi-Table

@AntePavilion competition

London,

2020

Love19 is an inhabitable, performative sculpture with a multiple nature: a table at the scale of architecture, a scenographic shelter, a permeable enfilade, made of hollow columns to be climbed - a roof to sit on, to admire the city and landscape from a unusual perspective.

Each column opens upwards, transforming itself into a lightweight fan vault: all together, juxtaposed and intersected, they give life to a shaded corridor, in which the light playfully manifests itself between the ribs and the curtains. The columns build an horizontal thick surface, flattened in the part facing the sky, at a height of 3.15 m As suspended garlands, each module is in fact composed of 48 flags of various shapes, in translucent white fabric, which wrap two rows of tennis referee chairs and support two sequences of green metal sunburst sticks.

This hanging elevated table - a geometric interweaving of 912 artificial foliage - features considerable dimensions: it's 17.35 meters long and 5.60 meters wide. Below it, between 40 and 50 people can linger simultaneously. At the table, however, there are only 19 seats. The exception creates the entrance, otherwise each diner sits 2.60 meters from those in front and 1.60 meters from those on the sides.

These are the dimensional parameters that quantify the artefact - the result of a diligent reflection on the current times. However, Love19 offers an alternative to the sadly recurring ready-to-use solutions - those that attempt to change directly and quickly certain rooted behaviours, established over time. Bodily relationships can be designed, rethought, even fabricated, but - fortunately - not controlled. They can't be measured in centimetres.

Love19 does not try to constrain, to adjust: it re-shuffles the proportions between space and objects, it aims to alter the foundations of perception and motor coordination that regulate the ordinary - it claims to stimulate a radically new use of the body. Love19 is designed to suggest, but it opens up to instinct, intuition, a physicality free to transform itself. Love19 invites - with pragmatic optimism - to rethink, creatively, movements and devices for the public space.

Designed by

Lemonot

Performative meal
@Kitchen Takeover _ Open Space Contemporary

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IL PRANZO DELLA DOMENICA

Performative meal

@Kitchen Takeover _ Open Space Contemporary

Collevecchio,

2020

From our confinement in the countryside of Rome, we re-enact the conditions of a festive Sunday lunch, transforming a big wooden table into a surreal stage-set. We populate it with extravagant objects, ingredients, dishes, and memories. Everyone is invited. We perform at the table and this happens as a natural act: the Sunday lunch in Italy is by definition an ordinary yet exceptionally theatrical performance.

Sunday lunch is not a simple meal, it is a marathon. Therefore our project starts at the first light of dawn, when the kitchen begins to speak, to come alive, while all the members of the family sleep, in a triumph of smells and flavours, starting to prepare the sauce with which to season the pasta.

“A pig with a rosemary forest in the belly” - Carlo Emilio Gadda The hostess holds in her arms a roasted pig, “porchetta” - a dish traditionally eaten on special occasions, feasts and gatherings. Carrying its weight like a sacrificial animal, her parade starts from the kitchen until it reaches the table. The pork belly was filled with sage, pepper, salt and rosemary and cooked for over 6 hours. The scent lingers throughout the house, leaving behind a delicious aroma. We are all slowly waking up, with high hopes and expectations for this ‘first’ Sunday lunch together.

A sense of fear remains, you can smell it whilst preparing this delicious dish. After months of greed, feasting on negative news, frightening articles, and headlines from all over the world, we are still scared. Surely, the guests will blissfully jump on this porchetta. Yet, we can’t forget, we have been consumed by what we have witnessed: this moment of celebration is hiding a bitter aftertaste.

The verb "porchettare" means to stuff the meat with aromas and spices, whilst continuing to massage it, until achieving a harmonious blend. Similarly, hands, pieces of meat and cutlery intertwine into a visual feast of expressive trajectories and evocative gestures.

Food is not only an allegorical connector amongst the guests during this Sunday lunch. The porchetta, thanks to its copious length, becomes a physical place of encounter: via cutting, grabbing, sharing - hands can finally meet at the centre of the table, fulfilling the mutual lust for togetherness.

These hours spent in the countryside have left visible marks on the table, appearing now as a kind of violent and passionate battlefield. Generous meals in Italy are often associated with cheerful warfare, where even angels have to surrender to sins of gluttony. The culinary match has just ended.

Directed and curated by

Lemonot

with

Arianna Zamparelli

Palma Bucarelli

Marianna Morreale

Federico Armeni

Leone Hadavi

Federico Angeloni

Zobeide Hadavi

Tommaso Riccitelli

Carlotta Dotto

Anna Previte

Alessandra Frustaci

Rita Elvira Adamo

Felix Doeple

Video

Filippo Bonza Brachetti

Farm Cultural Park, 2021
Firenze, 2021
Venezia, 2021
Logroño, 2021
Belmonte, 2020
Palermo, 2021
Puglia, 2020
Larnaca, 2020
London, 2020
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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.