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Georgia

Jordan

This film depicts the various ways in which 'the home' is made in the context of displacement. Building on kinship and family ties, these stories from Zaatari village show the centrality of the home in building new lives after conflict.

Albania

A short film created as a spontaneous action of inclusion of a local taxi driver into the conversation of foreign passengers, three friends. Although we didn’t speak the same language as him, in this short moment in time we let the music he likes become our way of silent communication with him. The simultaneous scenes of walking along the labyrinth of meander lines, drawn on the floor of Rruga Sermedin Said Toptani, symbolize the complex paths of interpersonal relations between strangers. While I was staying in Tirana I had a strong feeling of empathy towards older, local people. I saw that often they don’t speak any foreign languages, while at the same time, because of economic challenges Albanian people face, they are “forced to” work with tourists. As Tirana is rapidly growing and changing, the city center is full of foreigners, both investors and tourists. Local people don’t take a taxi — they take a bus or they drive a taxi. Local people often don’t go out to eat in restaurants — the eat at home or they work in restaurants. Economic differences between local people and foreigners are felt in all areas of life. In Tirana, I had a strong feeling that local people from Tirana often feel as second-grade citizens in their own city, “occupied” by English-speaking foreigners, surrounded by fancy shops, cars and restaurants, which they, local people — can’t afford. This short film is a documentation of one humble effort of trying to make a local taxi driver feel he’s at home in his own city, by a simple act of showing an interest in his culture via his own personal — music playlist.

Azerbaijan

Pari Banu is a trans artist with an interdisciplinary and contemporary approach to her work. In her interview, she explains the connection of her inspiration to city planning. She also talks about queer oppression and her struggles while living in Baku. Authoritarian and phobic spaces leave many queers with no choice, and Pari Banu is one of those who left the city to seek a safer and more secure space where people respect her identity. She explains the issue further in the interview.

Denmark

The film explores where the boundaries of inclusive design are and how they can be further extended by setting pre-determined barriers. The project fictionalises the story of a traveler without knees and how he lives in a modern city. In the process of social discipline, it is a necessary thing to deconstruct the single-mindedness and wishful thinking of the designers in a playful way. In the process of making the film, I tried to identify similarities in the symbolic forms of everyday life and intertwined them with ''poor images'' to examine the tiny narratives of fragmentation and chatter from the position of a spectator.

Hong Kong

Seasonally, street sleepers in Kwun Tong Public Pier need to move out like the tide falls during the pier clearance by authorities, and move back to the pier like the tide rises afterwards. A mobile unit prototype is built with street sleepers themselves to deal with the seasonal clearance. It attempts to save construction materials without destroying the settlements in each clearance, which save energy for street sleepers rebuilding shelter and authorise to dump the construction waste respectively. By enhancing the efficiency of moving in and out, the project hope to stretch the tension between authorities, public and street sleepers on the usage of Kwun Tong Public Pier. The team will continue to document the intervention and situation of the pier in the upcoming clearance.