by Martin Tadilli
curated by Annacaterina Piras

The video recounts the experimentation carried out by the Creative Community of LWCircus in response to the question "How will we live together?" posed by Hashim Sarkis, curator of the XVII Venice Architecture Biennale.
The Creative Community, composed of a diverse group including architects, artists, landscape architects, musicians, filmmakers and agronomists, embarked on the discovery of the resilient community of Asinara, an excellent example of evolution, adaptation and symbiosis.
The short film represents the immaterial work, that is the process that gave birth to the deep interaction of the Creative Community with the local context, humans and more than humans, creating a resilient and inclusive project.
It's needed to stop calling for a "return to normalcy" and understand that "normalcy" was the problem.

by Floor Hofman

At the end of 2017, the first social housing unit of the city of Taichung was built. In Taiwan as a whole, social housing comprises just 0.08% of the housing stock. Compared with other advanced countries, this figure is significantly low.
Together with the first residents, documentary filmmaker Floor Hofman moved into the second social housing unit of Taichung a few weeks after its opening. While living there for four months, Floor talked with residents about how social housing changed their lives.
This film brings the audience to a remote industrial area at the edge of Taichung, where the freshly painted social housing flat is located. Surrounded by factories and mountains the flat is a “Starting Point” for different groups of people.
Residents are coping with their new environment. Some start learning to live independently for the first time in their lives and encourage themselves to remain positive in this difficult time. Others feel reborn by leaving behind family structures and are excited to give shape to their new life full of freedom.
People in the neighbourhood become acquainted with the concept of social housing and meet their new neighbours. The government struggles with the strong stigma attached to social housing and the lack of government-owned land to build on.
Starting Points aims to weave complex social and personal situations into a quiet and patient narrative and was shown at the Architecture Film Festival Rotterdam and Docfeed.

by Lucie Martin

The home, a very intimate space where we store our belonging and secrets. A private place where we are protected by simply closing the door. Here, however, there are few personal items and the door is open. On the threshold, a man.

by Olivier Cazin

Firmin has strange obsessions. If his strange behaviour does not worry his colleagues, it is because they are already overwhelmed by organisational problems and a certain incompetence. There is a saying that goes: 'You know when a job starts but you never know when it ends', and the way things are going, Brunet, the little boss of this construction site, fears the worst as he seems to be unravelling day by day. While they are impatiently waiting for a delivery of Zyrtec Blue pigment, metaphysical events occur that plunge this place into inevitable and absurd chaos.

by Aloyse Leledy

Based on the fact that 74% of waste comes from the construction industry, BFV Architects included a reuse component in its design. During the design phase the architects identified another construction site less than 500 metres from the site of the crèche on rue de la Justice. This was a rehabilitation project following the adaptation to fire standards of a residential complex. The project required the removal of all solid oak landing doors and their replacement with fire doors. BFV's architects took the opportunity to use this free material to give it a second life. Materials from the neighbouring construction site were therefore reused. Some 600 doors were recovered to make up the façade of the kindergarten...

by Ugo Carmeni

The Stones of Venice as a border area, a shelter for our subconscious space, a mimesis, an occasion to reflect our selves. They appears as a cartography made of solids, which resist, and voids. Of impulses and sounds. The statues, in turn, placed on the facades, seem dematerialized sentinels, guardians of this interior space, witnesses of what remains to crumbling.

The place seems a fantastic vision at the best, from which the world must at last awake some morning, and find that after all it has only been dreaming, and that there never was any such city.
William Dean Howells