MuBE portrays the “Museu Brasileiro da Escultura” built in 1987 by the Architect Paulo Mendes da Rocha. The short movie invites the spectator for a slow journey through the museum, enlightening the relation among the building, the cityscape and the nature, blurring the boundaries between private and public space. His attitude towards architecture was not just to make aesthetic and solitary architecture, but first of all he strived to change the thinking of the people, living, visiting or working in his buildings. In his architecture, rooms act like public spaces, where no divisions and privacy nor segregation take place. People are forced to interact and live together. In his mind, a house should not be more than a place to sleep. And all the rest of the functions are happening in the city itself. MuBE was designed as an introverted, restrained building, carved into stone, it does evolve all the necessary functions in the subterranean layers of São Paulo without disturbing the visual aspect of the surrounding landscape. The portico, the roof over the communal spaces, shelters sculptures and visitors from rain and sunlight, like a stone in the sky. The short movie emphasizes the stone in the sky, through the infinite palette of degradation, weathering patinas and the ever aging construction materials in opposition to contemporary forms of fast architecture and unsustainable resources. Paulo Mendes da Rocha's architecture transcends time and social limits of an inhospitable and inhuman society. Through the use of materials in their most legitimate aspects, Brutalism reveals itself in essence, thus echoing the meaning of architecture: to develop spaces that link city and people.

Vincent Van Gogh's on his descence to madness

InBetween This film idea came to mind after going through different concepts. I kept coming back to one idea that I hadn’t fully understood but had in the back of my mind through the concept development. At some point during the night, in-between ideas and sketches I figured out what it was - what I wanted to say by creating the film.  Many public spaces exist in the city, but they are hidden by some constraints. They are not easily reachable or popular, but they exist. I believe if we look deep enough, we will discover them and enjoy their existence. We do not have to create a new one, instead, we can re-create what already exists.  ‘Is there a single correct interpretation of space and place?’ (Ali Madaripur)

There was no public space to gather and form a community for the alternative youth, marginalized communities, and those who enjoy arts and crafts. Salaam cinema opened its doors to different communities and started its activity with movie screenings. The space got so much attention from youth and in return, from its owner as well. To a point, the owner claimed to destroy the building which is a historical Molokan worship house and said that he plans to build a mall instead of it. The community around Salaam liked the space so much and slowly it was turning into their “home”. And when someone tried to demolish the community and the “home” they newly brought back to life, young people started to resist keeping the space for its further use. Weeks of resistance happened where at some point people physically fought against the owner and carried out a sitting protest not to leave the space. Eventually, with the support of urban activists and the community, the resistance won and Salaam could survive! Now the space hosts many arts and entertainment events and it is a safe space for different marginalized communities. For many, there is a strong feeling of community around Salaam and since its start, the building has been flourishing and getting bigger!

Bolek Ryziński, born in Poland, architect, sculptor, photographer, builder, spent most of his life in NYC. As of 2021, he lives in San Juan, Puerto Rico. This is where his public Caoba Project was born. Bolek inspired by a mahogany trunk left on an island, between highway ramps, decided to give it a shape. The movie introduces the process of sculpting, along with the birth of an idea. Narrated by the artist, the movie is made as a moving collage. Mostly from footage given to me by Bolek, and pictures of objects characteristic of San Juan’s nature. The Caoba Project is continuing. San Juan allocated a “new” mahogany trunk, on a public square, to be sculpted by Bolek. Bolek Ryziński’s Caoba Project is street art, it belongs to everyone.

Kuramba The Dream, is a film adaptation by Anita Szentesi, of the oral narrative that Sechaba Maape recounted, of the dream that he had about a living land character, the water snake, who destroyed his hometown. Sechaba Maape arranges to visit Mmakgabo Sibidi to seek advice about the dream, taking the artworks he has created of the dream with him. In the film, the artwork of the water snake comes to life as an animated dream sequence. Sechaba Maape’s face transitions into the face of Mmakgabo Sibidi, showing his intention to visit her. After greeting one another, Sechaba Maape unrolls his artworks, and a discussion ensues about the dream and the subsequent creation of the five buildings artwork. During the discussion, the five buildings rise above, hover, float and vibrate, whilst witnessing and listening to the discussions. At the end of the film, the five buildings descend into the ground, forming the foundations for the conceptualisation of an appropriate contextual architectural approach.

The film addresses the issue of the lack of green public spaces in Azerbaijan. Young people usually struggle to find peaceful and clean areas for their leisure time and tend to visit kilometers away from Baku to “escape” the gray scene of it. Also, Baku is surrounded by beautiful coastal areas, however, due to the mismanagement and lack of state responsibility, these spaces are usually full of trash and not taken care of at all. Although, it is cleaned regularly, even around the center you could see people irresponsibly trashing the streets. Psychologically, it is proven that contact with nature and green scenery helps people a lot to relax and sustain a better mental state. Unfortunately, Baku is a very gray city. It even worsens with time when authority is given to those with resources and connections to cut down more green areas to build their private property. We need to preserve and take care of the minimal green areas we have left in Baku and the film addresses its importance.

The concrete structure of the Bronks theater located in the center of Brussels is altered by the presence and performance of Raven 007, a queer voguer. Their movement is political, it queers the architecture, changes the qualities of the building and has brought the queer ball room community together.

Contemporary urban life plays in fast-forward. People use public space mainly as a medium to get from place to place, not as a destination. They practically share the space with each other, but they rarely use it to connect. That lack of connection creates alienation that ends up in exclusion. What would happen if we could simply pause for a moment and connect with what surround us and actually experience the space and the people in it? Wouldn't it be nice to meet you?

Every day, for three hours, street musicians take over parts of Skanderbeg Square, the main plaza of Albania’s capital city. They appropriate Tirana’s iconic free-use green chairs to position themselves as part of the urban landscape and engage through music in a spontaneous process of placemaking. This film follows a day in the life of a group of local performers.