The relationships change in a house while the wifi is disconnected.

In Obara village, Fukui Prefecture, Japan, just one elderly individual persists. Once thriving local industries are now mere history, their absence highlighted by the harsh natural environment that hinders a modern lifestyle. The intricate relationship between humans and nature, often seeming like a conflict between the natural and artificial, becomes even more complex when we consider the role of 'weeds'. This is a glimpse into the intricate entanglements of symbiosis within the Satoyama - the gradually disappearing ancient Japanese rural landscapes.

ARCHITECT IS A MEDIATOR BETWEEN PEOPLE AND ARCHITECTURE / FILM SHOWS IT EXPRESSLY STRAIGHT P.S makes places usable by everyone, regardless of age, ability and circumstance.

Due to public shaming, lack of awareness and education, and exclusive spaces, disabled communities struggle the most and turn into home prisoners at some point. The integration of disabled people into society is very limited in Azerbaijan and the film highlights a deaf person’s perspective on daily life. Due to little to no existing inclusive infrastructure in Baku, most disabled people find it hard to go out of their houses without being dependent on a helper. Also, those who feel comfortable going out are always subjected as someone “in need” and get many offers from the public for help which the person did not even ask for in the first place. Many also assume that people with disabilities are in need of money and often offer them some financial help as well, which leaves many in an uncomfortable situation. The public authorities who are responsible for the city design and institutions working with people with disabilities are usually very irresponsive and the needs of the community have been unfortunately neglected for years with many empty promises to provide necessary design and tools around the neighborhoods to make life easier for them.

A short film depicting a woman's experience in her apartment's backyard. The film deals with the emotions that the space provokes, memories that emerge, and the limitations of any architecture- even if intentionally inclusive.

The movie is filmed around the streets of suburban districts of Baku. The background voices are from the YouTube interviews/archives about LGBTI+ experiences from the general public and personal archives . Occasionally, different media platforms carry out public surveys and interviews about queer experiences in the streets of Baku and the results are mostly very hateful and alarmingly homophobic and transphobic. Many people see queerness as a major sin or health issue, or just deny the community's existence by just simply ignoring LGBTI+s. The phobia against the community affects trans people and particularly trans sex workers the most and unfortunately, many trans folks are the victims of hate crimes in the country. For the past 5 years, Azerbaijan is ranked as the most dangerous and worst country to live in for LGBTI+s by ILGA-Europe. Rising homophobia and transphobia raise major concerns for the community and the film addresses the realities of public opinions about the queer community.

A young woman experiencing the city by night, in a game of lights which expand her senses and her fear of walking alone.

The assumption that all people are able to actualize the rights, benefits, and responsibilities of citizenship within the built environment is misleading. African Americans’ ownership of property and use of public space for personal enjoyment has been historically perceived as transgressive behavior, and often met with punitive legal action, violence, and, at times, death. Given this context, the ability of African Americans to successfully navigate and shape the physical spaces within their lives has amounted to de facto survival strategies. Addressing this fraught social-spatial condition and its impact at the scale of the citizen, Thrival Geographies (In My Mind I See a Line), an intervention in the courtyard of the US Pavilion, is rooted in the historical spatial practices of African Americans, yet speculates upon new spatial strategies that support the most precarious of populations. We foreground these practices as manifestations of civic agency and freedom that move all citizens beyond mere survival toward thrival and full participation in the democratic ideal.

The movie is about nature preservation and how human and animal habitats could co-exist together. In this area where the movie is filmed, people have free access to give a visit and be in touch with animals. The interviewer explains the importance of the preservation of animal species and nature. Baku is a very busy and noisy city. Sometimes people want to escape the chaos of the city, but unfortunately, there are not very well-designed parks or other places where people can be easily in contact with nature. The filmed site is one of the examples where people could visit and be in touch with nature. Although Baku does not have the best nature scene, other regions of Azerbaijan are covered with beautiful nature and green areas. However, another problem is about access to these places. Sometimes they charge unreasonable prices for entrance tickets, or you need to take a seat at a facility (cafe, restaurant, etc) around the place (which charges a lot) in order to have access to nature. Escaping the noise of a big city and finding peace in public natural places is every citizen’s right. Restrictions on access and lousy design (as well as location) of parks in Baku are other urban problems of many.

Women are, indisputably, affected by feeling unsafe in public spaces after dark. They change the way they act, move and live. Concrete-heavy, badly illuminated spaces, like bridges or tunnels create a nightmare scenery and exclude women, as well queer, trans and non-binary people from safely walking through them. The film LIGHTS immerse us into women's discriminatory reality, their vulnerabilities and desperate reactions in the dark. And investigates what can architects or urban planners do to help inclusive transformation of public spaces? How can designers ease omnipresent fear of experiencing sexual violence?