The fridges are placed in an urban context with a sense of history and conflict. On one side is a gentrifying neighborhood; on the other is a cultural center guarding the under-represented. When a domestic object speaks its mother tongue of intimacy, boundaries begin to dissolve. Giving and receiving, entering and leaving, opening and closing, are all packed and shared inside these two fridges, by the name of food, from these fridges to all the fridges.

The video "Primary Swarm" (2020) by Agnieszka Mastalerz and Michał Szaranowicz is staged in a wind tunnel used for analyzing the flow of air. A group of people is moving towards a gate. Their relationship is not clear, they might be competitors. From a standing point, the people start to crawl. Outside, the natural environment represents an actual area in the city of Warsaw, Poland, where new apartments are supposed to be built. The artists wanted to document the current status of the landscape, before its transformation. While witnessing the slow disappearance of a green area of the city, previously available for the community and now passing in private hands, the artists wonder who will be entitled to live in those spaces and how architecture influences forms of collective life.

The Beauty in Decay: A Depressive Journey Through Impoverished Architecture. We explored the haunting abandoned buildings and decaying architecture that around us everyday. From dark corners to people’s homes, we introduce you to witness the slow demise of structures left to the mercy of time and neglect. As you delve deeper into the stark reality of these spaces, immerse yourself in the melancholic ambiance and contemplate the live that evolves every second. Will we change it sometimes? Who knows.

An intergenerational design research project that brings virtual reality and video gaming technologies to local communities in public housing as design communication tools. During a series of interactive and engaging co-design activities, youth and older adults are taken as co-researchers to critically reflect on public spaces and give agency to everyday knowledge. Participants are empowered with techniques of digital tools that help them to generate shared expressions of spatial needs and develop a mutual understanding of community interests. The participatory tools and processes are evaluated and published as open-source educational materials, together with the analysed co-design outcome.

Attention economy is the largest and most disruptive innovation in both the information and in marketing. Smart homes are ubiquitous, connected devices that enable people to monitor, and that which is exploited by a large number of people. Attention economy is, therefore, revealed in the transformation of the public sphere into a panorama of relationships of things, of affects, of intentions. The singular constellation of social relations is the ‘state of Things’. It is also, in a way, a mode of production, which throws light on and gives expression to the intensities of this social process and appears in it a kind of objectivity and a mode of definition so that the political process may more appropriately be regarded as a kind of activity. A space is thus less a specific place or a general archetype of entities, and more a particular constellation of relations and a particular object. A space is thus, one in which, what is stored in the ‘actual’ is also what can be transformed into a modulating effect of that, and the inclusivity of the non-human perspective, be it nature or machine.

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

A public space of an apartment building complex in Tirana, previously used as a parking lot, is now transformed into a small park with the active participation of the local community. The project is a successful example of participatory design and creative recreation of public space. The film is produced during the CAFx Film & Architecture Workshop Tirana: Leave No One Behind.

The film is about the toxic chaikhana culture of Baku. A chaikhana is a space where men come together to drink tea mainly in the company of domino and gossip. Many building complexes (particularly old ones from the soviet era) has an inner public spot for parking, playground, shops, and other businesses such as chaikhahas. Not only these places are very precarious for many to pass by, but also such facilities create a significant inconvenience for housewives. Sometimes the game and the chat last almost until early morning in the summer and the noise disturbs the citizens of the buildings very much. The film addresses the challenges of a housewife due to the situation and also, highlights the irresponsibility of public institutions regarding the issue.

Our short film investigates matters of urban spaces and their perception and critically approaches their potential for the adaptation of new residents. The particular potential of becoming a new or a second home to each individual. How easy is it to achieve this effect, and how can we measure this city's quality? Can the urban landscape define notions of home, and what properties of the city's spatial organization can create a homelike atmosphere? The notion of home is very personal to everyone, it is hard to quantify, but the concept is united by a strong shared sense of values. Home means a friendly place, a comfortable one, accessible and open. Such a perception can contribute to the natural development of both young people and adults. This story is about two friends who recently moved from their native Kyiv to Berlin and Warsaw and faced the need of adaptation to the new context, both cultural and urban. We reflected on the process of interaction with the new urban environment, up to the point where the new city and its architectural landscape started to shape the sense of a home.

The film highlights the citizens' struggles related to the sidewalks, certainly in the central streets where sidewalks are very narrow, cars are allowed to enter and parking is chaos. Many citizens who walk the streets where the film is made encounter different challenges. Particularly, for those who are in a hurry or coming back from shopping with some bags. Cars barely move due to the congestion, making the situation even worse for people to pass by. The narrow streets in Baku cover a huge area behind the central area from Hazi Alsanov to Bashir Safaroghlu street where plenty of shopping centers, entertainment and leisure facilities, local shops, business centers, embassies, and hotels are centered. The area requires access to a big number of citizens every day and the situation with the sidewalks demotivates many to walk around these streets. In return, people tend to take cabs to their destination and it creates a vicous circle where the cabs worsen the traffic and eventually the overall situation. At the heart of Baku, many are left without a pavement/sidewalk, and the film portrays the real every-day struggles of citizens.

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.