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STORYTELLINGLONDON

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‘In the future everybody will be an entrepreneur’. This slogan has been circulating in the internet and other media for some time. It reflects a re-action to the economic and political flux and the way people are able to confront it. Another side of it is the ever growing popularity of collabora-tive practices and the emergence of what seems to be different forms of economies, generally described as ‘peer to peer’.

This is a project in a West London pocket, West Kilburn, aiming to present a reasoned proposal for stimulating and making this place grow into be-ing more lively and creative. It is considering the area’s existing assets and arising opportunities.

Through an unorthodox mapping research, the project maps an urban patch in West London, through looking at it’s material culture and econ-omies. This common London habit of leaving no more wanted objects for someone else to take up, is particularly strong here. Looking at the sharing habit taking place within the gray zones between private and public, such as the house and street elements and spaces in between them, a series of observations arise. Can the community dynamic help produce a better space? How can this happen? What kind of organizational structure would be recommended? What would the motivation be?

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ECO-NOMIES

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London is going through an exciting moment of urban transformation, taking place within an city with great tradition in urban planning and architecture. London can be seen as an urban laboratory where ideas are boldly tested and the quality of the built environment remains a key topic in public debate. Planning though, has always been political, as decision- making is held on a government level and implemented through a variety of mechanisms within the public sphere.

Issues to be addressed on an everyday basis are the economic and housing crisis and a growing interest for ‘Place-making’, the improve-

1. 1. OH, SO YOU ARE A LONDONER?

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ment of our cities. How can cities continue to get better, when the economy is in decline? Does it matter after all? Yes it does, sure it does. Improving the urban environment means economic growth but also happiness, that then motivates positive change. In this way a circle of constant activity and improvement can be realized. Without it, we may end up with lifeless, boring and gettoed environments. And without fun, a global city can no longer claim a central position in the world of business, innovation and tourism.

The mayor of London continues to back small scale projects even dur-ing this scarce economic envi-ronment. The construction in-dustry has to be promoted and facilitated, as it is pumping the economy and the city’s repu-tation. Therefore, developers are favored, seen also as social investors. So what about com-munities? Can they also be seen as active players that can also shape the success and growth of the environment they live in? The Localism agenda is ex-pected to `generate more local involvement and influence in the context of neighbourhoods. Neighbourhood forums are ex-pected to become active new players, along with other local authorities and private develop-ers. A question that keeps arising is whether this applies mainly to the ‘blue donought’, the con-servative Tory winning areas of London or if it will also benefit less privileged areas.

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This area of West London is mostly known as a well-off area of a relatively high income. However, there is a good mix of coun-cil housing and housing associations in it, be it Victorian terrace houses, low and high density buildings or other types of residential complexes. Some iconic modernist buildings are here: the Trellick tower, the Alexandra road, the Kensal house and other examples of visionary post-war architecture. Some interesting Arts and Crafts examples as well.

While some of the lowest income population and homeless live here, private housing has also strong presence. Public and Private Partnerships (PPP) provide new residential complexes and give some percentage of affordable housing, at 80% of the already in-flated market value.

New residents flow in, while the old ones insist on remaining on the ground of their community. This wish, of remaining in a place one calls home, can be tricky as land gets more and more expen-sive. Council tenants are very often displaced in areas in the greater London, as regeneration mean rising costs, at a point of non- af-fordability.

This has its cost on the character of the area. Formerly known as a buzzy area with loads of character, it now tends to get more po-larized into stylish, expensive hubs and forgotten, poor ‘inlands’, waiting to be regenerated, remaining ‘inactive pockets of huge opportunity’.

2.1. OH, SO YOU ARE A WEST LONDONER?

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TO GIFT

Exchange taking place in Portnall Road:chairs no longer neede are being left by the wall and taken by their new proprietor.

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Kilburn is an area in North West London and its’ land liesbetween three boroughs: Camden, Brent and Westminster,each of whom following their own agendas.

Mainly a residential area currently, struggling to keep itstwo main commercial roads alive, as businesses graduallymove out to give their place to residences. Remaining on thehigh streets are local businesses that offer low cost everydaygoods and places to eat. The latter indicate the presenceof irish, afrocarribean, spanish, lebanese and other present ethnici-ties. A place with a good infrastructure of parks, schools and some community facilities, though in decline, due to land prices and market pressure that promote more money productive activities.

Other than food, entertainment can be found in the Tricycletheatre and cinema on Kilburn High Street, pubs and cafes in around and in Queen’s Park, in the area around the tube station. Although it isvery likely for most residents to make use of the good existing trans-port system and go to another place to have fun.

2.2. WHERE IS KILBURN?

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The nature of gift economies forms the subject of a foundational de-bate in anthropology. Anthropological research into gift economies began with Bronislaw Malinowski's description of the Kula ring[3] in the Trobriand Islands during World War One[4].The Kula trade ap-peared to be gift-like since Trobrianders would travel great distances over dangerous seas to give what were considered valuable objects without any guarantee of a return. Malinowski's debate with the french anthropologist Marcel Mauss quickly established the complex-ity of "gift exchange" and introduced a series of technical terms such as reciprocity, inalienable possessions, and prestation to distinguish between the different forms of exchange[5][6].

Gift economies are said, by some[7], to build communities.

Sourced from Wikipedia, 07/2014

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Now, what is that?

Estate agents call it Maida Vale or St. Johnes Wood, asthey try to avoid its’ real name. It is a patch mainly of valuablevictorian houses and housing estates. As Queen’s Park’swell off population gradually trickles down to-wards Harrow road, a good amount of counciltenants and homeless shelters continue to be there.Strategic moves from Westminster council are takingaway community facilities, such as the Jubilee leisure center, falsely de-scribing it as underused, to replace it with the more profitable render-ing use: modern flats.

Is there a way to regenerate without undermining existing

2.3. THE UNKNOWN (WEST) KILBURN

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OBJECTS ARE

CURRENCY

Mauss, in contrast, emphasized that the gifts were not between indi-viduals, but between representatives of larger collectivities. These gifts were, he argued, a "total prestation." A prestation is a service provided out of a sense of obligation, like "community service" [23].

Mauss appeared to be arguing that a return gift is given to keep the very relationship between givers alive; a failure to return a gift ends the relationship and the promise of any future gifts.

Malinowski's study of the Kula ring[21] became the subject of debate with the French anthropologist, Marcel Mauss, author of "The Gift" (1925)[5].In Parry's view, Malinowski placed the emphasis on the ex-change of goods between in- dividuals, and their non-altruistic motives for giving the gift: they expected a return of equal or greater value. Malinowski states that reciprocity is an implicit part of gifting;

there is no such thing as the "free gift" given without expectation [22].

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a. Harrow Road: The Westminster part of Kilburn, struggles to maintain its commercial High Street, Harrow road. Commercial shops covering demand for every, cheap day goods coexist along food and electronics (internet, mobile) businesses. Supermarket chains, Char-ity shops, churches, health services, betting shops, hairdressers and closed shop fronts form the rest of the picture in this ordinary street. Shop in shop is a common practice. Schools and some other services are scattered deeper, away from it. Grand Union canal runs in parallel, just a breath away, south from to Harrow road. It is a recreation linear park, linking pedestrians and cyclists to Paddington and Kensal Rise. However, it acts like a barrier to the adjustcent Golborne Road and its’ vibrant community and market. Although there have been remarkable attempts to create an open air market in Maida Hill square, on Harrow road, it just does not seem to work. The square’s stigma of drug trade and the canal as a barrier, along with the local residents’ low consump-tion capability are not helping towards an attractive market place for anyone outside the bubble.

b. Kilburn Lane: On the Brent side, in the area known as Queens Park, there is a network of amenities and services, such as a public li-brary, community rooms, parks and an experimental scheme that pro-vided studio space and professional training for local youth. On both sides there are small scale commercial businesses, mainly focusing on food but also a health center.

c. Kilburn High street: This is the most well known road of the area, although that doesn’t mean it is a loved one. Constantly congest-ed with heavy traffic at all time, it has a big variety of small commercial businesses, some larger mainstream chain shops and some unexpected ones, remains from its rich past urban history: a marble trade center, along an astrology center, next to a migrant philipino food shop and gather point, opposite to a butcher, next to a builders merchant.

3. A VARIETY OF EXISTING AMENITIES Three main roads/ Physical borders/ Urban margins

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A SILENT TRADE

Silent trade, also called silent barter, dumb barter ("dumb"here used in its old meaning of "mute"), or depot trade, is a method by which trad-ers who cannot speak each other's language can trade without talking. However, Benjamin Orlove has shown that while barter occurs through "silent trade" (between strangers), it also occurs in commercial mar-kets as well. "Because barter is a difficult way of conducting trade, it will occur only where there are strong institutional constraints on the use of money or where the barter symbolically denotes a special social relationship and is used in well-defined conditions. To sum up, multi-purpose money in markets is like lubrication for machines -necessary for the most efficient function, but not necessary for the existence of the market itself."

Plattner, Stuart (1989). Plattner, ed. Economic Anthropology.

Stanford, CA: Stanford University Press. p. 179.

As sourced from Wikipedia on the 16/07/14, athttp://en.wikipedia.org/wiki/Barter#cite_note-15

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All three streets are an example of multicultural, ordinary streets. Small independent shops, with propriators from different ethnic back-grounds compose the street front. Religious buildings, communitites and economies are also present. A new creative hub has started to get established in the middle of Kilburn, between the borders of the Brent side and the Westminster. Situated to the north of Queen’s Park sta-tion, it sits adjuscent to the poorer West Kilburn and South Kilburn and the wealthier Queen’s Park area.

Is the appearence of creatives a sign of threat to the deprived parts, as the remaining low cost properties will increase in value? Does it strengthen the urban borders between the hip, upcoming enterprises and the ordinary?

This research states that creativity should also be a property of less priviledged urban populations and help their way into shaping microenvironments in the city.

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TO BREAK

RATION-ALITYWhat would benefit this specific area?

An unorthodox research project was carried out to map the area. The process resembled that of anthropologic field work. It investigated traces and routes of the material culture in the area. Objects in motion, official and informal trade that takes part in the area, as well as a series of interviews with ‘informers’, provided clues.

Research Outcomes:The Practical Aspect

The West Kilburn patch is home for a relatively big number of social housing and homeless shelters. The income of this population is low. There is a continuity of afrocarribean community in the patch, howev-er, new dwellers keep moving in. These can be of low income, to inhabit the existing social housing stock and homeless shelters or private buy-ers. What seems to insist is the notion that material things can be use-

4.2. FIELD WORK

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15. Polanyi, Karl (1957). Polanyi, Karl et al.,ed.Trade and Market in Early Empires. Glencoe, Illinois: The Free Press. p. 14.EX-

CHANGE

Economic historian Karl Polanyi has argued that where barter is wide-spread, and cash supplies limited, barter is aided by the use of credit, brokerage, and money as a unit of account (i.e. used to price items). All of these strategies are found in ancient economies. They are also the basis for more recent barter exchange systems.[15]While one-to-one bartering is practiced between individuals and busI-nesses on an informal basis, organized barter exchanges have devel-oped to conduct third party bartering which helps overcome some of the limitations of barter.A barter exchange operates as a broker and bank in which each participating member has an account that is debit-ed when purchases are made, and credited when sales are made.

Modern barter and trade has evolved considerably to become an ef-fective method of increasing sales, conserving cash, moving inventory, and making use of excess production capacity for businesses around the world. Businesses in a barter earn trade credits (instead of cash) that are deposited into their account. They then have the ability to purchase goods and services from other members utilizing their trade credits – they are not obligated to purchase from those whom they sold to, and vice-versa. The exchange plays an important role because they provide the record-keeping, brokering expertise and monthly statmentsto each member. Commercial exchanges make money bycharging a commission on each transaction either all on the buy side, all on the sell side, or a combination of both. Transaction fees typically run between 8 and 15%.

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ful to a neighbor, therefore, an informal barter trade continues to take place. This significant amount of material economy forms interwoven routes of object exchange. Things left on the front walls continue their useful life, when taken up by a neighbour who needs them or a local charity to raise funds for a cause, as well as to be sold as second hand goods in local markets and shops in the area and around London. For the ones that reach the end of their functional life, there is a number of junk collectors. It is through them , that objects will be turned back into materials, then to be transformed into new commodities.

Like clothing, the way we use material objects, relates to our identi-ty and how we shape it, within the social environment. Their practical value is only part of their potential. Material objects and consumption habits are therefore not only indicators of our income but also of our education and social position. They are dynamic elements of an em-bodied practice. Through them we express our culture and ideas: by placing them on and off walls, gathering, repairing them, taking them to charity shops and local markets, putting them in trucks and taking them to other parts of the city, selling them and carrying them to be recycled into materials.

Objects found in unusual contexts, where they don’t belong provoke surprise. While walking in the city, the encounter of unfamiliar objects that create alien micro-environments, can generate stories. Where did

The symbolic aspect

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The Owenite socialists in Britain and the United States in the 1830s were the first to attempt to organize barter exchanges. Owenism de-veloped a "theory of equitable exchange" as a critique of the exploit-ative wage relationship between capitalist and labourer, by which all profit accrued to the capitalist. To counteract the uneven playing field between employers and employed, they proposed "schemes of labour notes based on labour time, thus institutionalizing Owen's demand that human labour, not money, be made the standard of value."[16] This alternate currency eliminated price variability between markets, as well as the role of merchants who bought low and sold high. The sys-tem arose in a period where paper currency was an innovation.

Paper currency was an I.O.U. circulated by a bank (a promise to pay, not a payment in itself). Both merchants and an unstable paper currency created difficulties for direct producers.

BE-TWEEN PEERS

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this object come from? Why was it dumped? Who used it and what was his or her personality/ habbits/ story, etc. What could I use it for? What will be the reaction if…? Objects make us think.Objects are also used to display: beliefs (like religion), personal or col-lective achievements (medals and prizes), artistic inclination (installa-tion of objects or works or art on windows or gardens), hobbies and habbits (gardening or coffee culture).

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OBJECTSCREATESPACE

Objects can be left on the gray zone between public and private spaces in many ways: dumped out of boredom to be thrown to a bin, out of revenge for an ex- partner or a flatmate, as a away to avoid the fee charged by the council for large object collection.

Objects take revenge/ protest/ claim/ shout/ complain.

Whatever the reason objects are being left on public, one cannot help but be cought by surprise by a variety of chance affects that these ob-jects provoke. One can be addicted to the affect such an encounter may bring in daily life.

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A MATERIAL ECONOMY

Left objects can act like gifts. Given away for free, they set their former proprietors free from their presence, while becoming useful to another one. One who accepts a gift is most likely to give one back, at another moment in time. One can set up a small business, selling and upcycling these ordinary goods.This keeps the whole circulation going, while in the same time creates a micro-economy of exchanged objects. This is a kind of silent trade or “bartering”.

Objects perform a s i lent trade.

Object exchange can be also described as a peer to peer economy. A mode of economy that has a long history but seems to have kicked alive in the recent past years…Only this one is a hands on practical economy. No internet smart application is needed, no entrepreneur partakes a percentage of profit, no taxation for transactions.

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DI-VER

SIONS

Architects, designers, makers and programmers have already creat-ed a network of forums, open source software, digital applications to co-produce, to facilitate, track, organise and promote exchange and collaboration in our cities: …..Others have turned this notion into new businesses: co-working practices for free-lancers, sometimes in part-nership with local public institutions. In Milan for example, a center-point for the creative industries, co-working spaces are considered as hubs of innovation. They are backed by Comune di Milano and support-ed by recent legislation ( Known as ‘Descreto Sviluppo, DL 18-10-2012 n°179).

A PEER TO PEER ECONOMY

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BREAKNEU-

TRALITY

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Other business examples are collaborative fabrication labs, hack spac-es, co-creation spaces. A different type is internet businesses that see collaboration as a way to save money for services, such as taxibeat/ streetbank/ airbnb etc.

Often these new forms of practice, can be seen as a network of creativi-ty and knowledge production that can create social interaction and link members of communities, providing ground for ensemble creativity. This creativity can become a performative activity, when engaged by a community and supported by its’ ritualized forms of exchange*. A thing to consider is the mode of organization- how will it be struc-tured? it can be either in a vertical, hierarchical way, where few individ-uals control the practice. Alternatively it can be a horizontal, ‘messy’ structure. The latter is a greater challenge, an exploration of how com-munities and individuals can explore the contemporary notion of the ‘Commons’.Finally, a tricky issue regarding P2P practices. Does sharing mean, that no intermediate stands between an exchange? Can this be a deteriorization of professional standards and a form of tax avoidance, therefore a practice with no contribution towards society? I think the answer lies in the form of organization and in the need to co-create, rather than achieving a more competitive economic trans-action. The unofficial taxi-drivers application is an indicator: qualified professionals can be replaced by a substandard,tax-avoiding cheaper workforce. What looks like a positive movement in the beginning (‘imagine if all the people of a neighbourhood shared’) can have a negative social impact.

Therefore, any proposal with a goal to improve a place, needs to be creative and productive, not just money- saving.

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Opportunities

This local economy shows the potential of goods and material upcycling and recycling. It is a whole cycle, in which a large amount of people seem to support and engage with a variety of different ways. The benefits of this activity can have a local and a wider (growth) impact. A relatively large amount of small electronics shops on the High street indicate the familiarity of a group of local entrepreneurs with technolo-gy and the career opportunities it can provide.

Appropriation of technology can be incorporated and provide new ways to transform, re-use and trade goods in a larger scale, beyond the boundaries of the neighborhood. One can imagine what a potential arises for further educating, creating job opportunities, energy genera-tion but also fun , affordable and useful DIY recycling creativity. Exam-ples can be referenced from other London areas, especially East Lon-don but also the neighbouring ‘Goldfinger Factory’, at Golborne road.

In the same time, what seems to be missing from the area- fun activi-ties- can give ground to a more sophisticated use. A performance space could provide not only entertainment, but also education opportunities but most importantly, the mixing between inhabitants from different economic and social backgrounds. It is an opportunity for local crea-tives not only to display their work, but find an affordable studio space in west London and provide public art projects in exchange. It is also a chance to showcase the workshop’s activities and products. But most importantly, to find ways to relate and create links between residents, making use and enhancing existing notions of sharing, whether it’s about things, spaces or new ideas.

Co-creating projects, be it commercial artifacts or art projects can be publisised, promoted and transmitted. The infiltration of the internet in contemporary life, can provide a much wider audience from afar, for any activity that can take place on a physical site.However, apart from a creative group, there is a need for audience that can afford to buy and that is interested in the cultural activities. Harrow

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road’s inhabitants have low consuming capability. Attempts to establish high quality markets there have so far failed. On top of that, the canal is a silent zone, an invisible barrier, where bridg-ing points with other areas are limited.

Kilburn Lane is a border which lies between the three main dif-ferent cultures in the area: the estates of South Kilburn, the vic-torian social housing of West Kilburn and the wealthy private res-idences of Queen’s Park.

It runs close to ‘Queen’s Park Design District’ so there is a good overall potential for experimentation and application of knowl-edge. There are already existing active residents, who organise agriculture sessions, energy efficiency courses, training for local youth, etc. in the wider surrounding areas.

An existing parking plot lies on Kilburn Lane, right next to the tube station. Crossrail claims it to turn it into a shaft for its new trainline, which is already under way. It is going to raise the lev-els of noise significantly. Local MPs try to claim it back for the community.

This plot is considered as an opportunity for local communities from either sides of Kilburn Lane. A possibility to improve an empty plot which currently serves as a parking space and will later be a noisy shaft, to be tranformed to a hub of community laisure and education activities.

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WESTKILBURN

LADBROKE GROVE

NOTTING HILL

SOUTHKILBURN

KENSALRISE

KILBURN

QUEENSPARK

GRAND UNION CANAL

Queens Park Design District is mainly situated on Lonsdale street.On the 2014London Design Festival there was a variety of creative firms: architects, fashion designers, furniture and bespoke craftsmen, small media agencies.

South Kilburn Studios is funded by South Kilburn Trust and Brent Council and is home to creative businesses, professionals and trainees.

Westbourne Studios, office and studio complexes, is home to over 100 innovative small businesses, predominantly from the creative industries.

Great Western Studios is a place for the creative industries: 104 studios, some of which overlook the Grand Union Canal.

Existing Community Centers

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ImplementationThis is an investment in the area. Therefore, it should be treated like one. The way it will be organized will define its viability, duration and success. It should be organized both bottom up and top down, with an emphasis to the first. Goals should start from being simple and evolve gradually. On- site gestures could gradually grow: from weekend events initially, to temporary interventions to design-and-self-build. There should be an open system of evaluation of practice and accountability.

Get a time plan:- Set a goal for a yearly commitment cycle and possibly a second- Research about the area, plot and Cross-Rail’s Involvent - Gather a reference base of similar projects- Publicise: Early local engagement: discuss ideas, co-plan, gain public interest and support for the project (also political support) in community centers, public rooms, libraries, events.- Generate ideas with Queen’s Park ‘design district’ partners- Establish a core of interested and dedicated partners- Initial cost analysis.- Links to the community and beyond, engagement. - Look for supporters: professionals/ institutions/ social enterprises on legislation, budget management, resources, policies,- Assistance from the Local council on legislation issues, check the Local Plan- Work towards convincing the LDF (Local Development Frameworks) , LLDC (London Legacy Development Cor poration) about the necessity of the project. Inevitably link to political priorities- Fund-raising: research and pursue borough, arts council, localism and other public and private funds. Developers working in the area to give back something in exchange (like Planning Gain for an improved open space)- Search for available materials and donations

What was the question?

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- Assignment of a collaborative architectural design through an open call for architectural design (in phases). Motivation for local young and more experienced practices to get involved in the design and self-building- Test ideas in practice, start small.- Establish an exchange system. Try it. Funding and services can be exchanged.- Presentation on Sustainability, energy efficiency and spread the word and Know How to locals - Sharpen ideas through practice and discussion- Assistance: Call for involvement of people and groups- Artist and thinkers residencies (Performance Space)- Assignment of wood, metal and electronics Workshop programme to a team- Call for workshops aims at local schools- Day to day maintenance and sustainability.

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Fun Palace is Cedric Price’s most celebrated work. Whether characterised as a giant toy or as a building-sized t r a n s f o r m a b l e machine, the pro-ject’s interest re-sides in its radical reliance on struc-ture and technol-

ogy, its exemplification of notions of time-based and anticipatory ar-chitecture. With Fun Palace, Price addressed social and political issues that go far beyond the typical bounds of architecture.

Fun Palace was conceived and commissioned in 1961 by renowned the-atre director and producer Joan Littlewood. Price developed plans for the project through 1964, both for the main project and for a smaller, more mobile “pilot” project. Neither were realised. Attempts to get planning permission for a wide variety of sites within and around Lon-don continued through 1970, amidst opposition from church, citizen groups and confounded city councils.

THE FUN PALACE, CEDRIC PRICE

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References

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South Kilburn Studios is funded by South Kilburn Trust and Brent Council and is home to creative businesses, profes-sionals and trainees. This unique project offers co-working, event and studio space alongside a giveback scheme. Tenants pledge – in lieu of market rate rent pay-ments – to deliver trainee-

ships, events, workshops or commercial time to support the ongoing regeneration of the local area.

SOUTH KILBURN STUDIOS

THE GRAMSCHI MONUMENT, THOMAS HIRSCHHORN Thomas Hirschhorn’s temporary ‘monument’ to Italian political the-orist and Marxist Antonio Gramsci (1891–1937), presented by Dia Art Foundation, run throughout the summer in the central court of the Forest Houses housing project in the Bronx.

Constructed in the form of an out-door pavilion, with elements including an exhibition space, library, theatre and bar, all built and run by the residents of Forest Houses, Gramsci Monument follows Hirschhorn’s guidelines for ‘Presence and Production’ in a work in a public space, meaning that the artist will be based in the South Bronx and onsite, making work, for the duration of the project. The monument also keeps to Hirschhorn’s commitment to materials that ‘do not intimidate’. The two ‘wings’ of the construc-tion, one housing the bar, workshop, classroom and theatre, the other a museum, library, newspaper, computer room and radio station – all fundamentals of civil culture – are constructed from low-grade two-by-fours, plywood, packing tape, and tarpaulins. There are philosophy lec-tures and kids workshops, weekly theatrical performances, open mic sessions, field trips (led by monument ‘ambassador’ and Dia Art Foun-dation curator Yasmil Raymond) and art classes (led by Hirschhorn him-self). Everything is open every day from 10am to 7pm and documented in running fashion online.

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Several London institutions have collaborated on an enticing free-entry pop-up space, provid-ing music, art, street food, cock-tails, drive-in for bike movies and a bit of monkeying around, too. Located a few mintues away from top south London club Cor-sica Studios (who developed the project with Peabody housing

assocation), The Paperworks will run weekly, Fri-Sun (during two sep-arate summer and winter seasons), with a DJ line-up (programmed by the knowledgeable minds at Corsica) that includes selectors from club nights such as Love Glove, Rhythm Section and Tender Hooks.

A pop-up food market work-ing for council, developers or private hire, promoting street food. ‘KERB works as a space – both physical and online – for making cities taste better. We do this through growing our commu-nity of members, running de-

licious events and markets and helping others get into the business through our workshops and consultancy – keeping things moving in an upward direction and involving anyone who likes food and the city.’

KERB

PAPERWORKS

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SANTIAGO CIRUGEDA

GRAYSON PERRY SKETCH

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en/As the state has

withdrawn, Santi-ago Cirugeda has stepped in to turn abandoned sites in Seville and other Spanish cities into dramatic art spac-es that are inspir-ing a new breed of architect.

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THINKSKETCH

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WHY

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HOW

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WHAT

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IF

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This booklet was pro duced during the UCL Springboard course fro m April to July 2014.Project by Marilena Synodinou, photo cre dits Marilena Synodi nou, Grigorios Papaz afiriou, presented at the Bartlett with the valuable help of Lau ra Allen, and tutored

by Peter Cook.

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MRL2014

http://sharelondon.tumblr.com/mrl.synodinou@gmail.com