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Spotlight is a medium to think about Rijeka, Spotlight re:identifies the port and its diversity, Spotlight re:veals neglected places’ value, Spotlight re:values imagination’s power, Spotlight re:news inhabitants’ points of views. Spotlight can be activated by anyone, Spotlight re:frames your normal perspective codes, Spotlight re:educates your vision. Spotlight is an artistic intervention, Spotlight is a colorful surprise, Spotlight is an illusion, Spotlight is an anamorphosis.

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The etymology of the word ‘anamorphosis’ characterises an optical artifice that lies on perspective, where the mind and the eye create a revelation that shows the resurrection of a form.

Rijeka is today at a


turning point :

the 2020 Capital of Culture will bring new developments, a new energy to the city as it has been the case in previous Capitals of Culture. Marseille saw its centre gradually change after 2013 for instance, transforming poor and industrial areas into new, fancy neighbourhoods, expensive buildings by famous architects. This moment before change is the opportunity

for us as young architects to

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question architecture, the city and landscape. In order to do this, we decided to develop a workshop that would change our apprehension

of space by an action which is not construction. We wanted participants to question how, as young architects and creatives,

we can act on spaces that need

to be reactivated. We want the

inhabitants of Rijeka

to look at what have become “banal” and unimportant spaces and buildings with a new pair

of eyes. Giving value to « empty »

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spaces through other ways than constructing them is essential to us. We aim to create visual and

spatial situations that question

architecture and the perception of space. Is space a mental and social construction ? Through our workshop, we wanted our participants to realise how a miminalistic intervention

can have a great impact on the urban landscape: and show that sometimes

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the immaterial can have as much impact as the material.

«Following the collapse of industry, most of [the buildings] have been abandoned which resulted in the city being separated from the


seaside and the river, and the of these locations and their architecture has been


CONCEPT With the same provocative spirit of the RE:EASA concept, we wanted to produce spatial ambiguities, and a feeling of strangeness that unsettles normal rules.

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The concept of the workshop was to use anamorphosis to put a spotlight on disused,

“banal”, unrevealed, places, to make people look

at them, interrogate them, and change their way of seeing them, in order to give value to these spaces.

The anamorphosis technique was our provocative medium throgh which we hoped to acheive this goal. They are so confusing and unsettling that it forces the viewer to question the space itself and his perception of it. It was a way to make people react and

experience space through a spatial and mental illusion. It suddenly attracts the eye and monopolises your attention for a few moments so that you may begin to understand what you are looking at; it brings poetry within the public space. Through experience, space RE-gains value, as people see it differently and maybe think about the

endless possibilities of this space. Designing and painting an anamorphosis requires a specific attention to the context and we thought it important to take time to understand the place in which we intervened, to get a feel of the space. It just doesn’t work if you don’t go through this step of the process. It was also a way for us to re:discover urban

space, architecture and the very basic notions

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of space, perspective, optical illusions and tricks.






ANAMORPHOSIS Anamorphosis have two facettes : from the right standpoint, they appear as a

perfect painting. However, as soon as one steps away from the standpoint, the

introduction project description workshop execution line, arch and frames participants tutors

viewer enters the painting itself. Space becomes a playful space, a more colourful space. It creates rhythm along the person’s journey. Space becomes a game, where

one needs to conquer the industrial

maze in order to find the standpoint from which he/she will see this new reality. It transforms the act of seeing into a physical experience.

Anamorphosis is a way to put emotional

perception and physical relation to a space at the centre of the debate

of architecture. How does a space

make you feel ? How can a minimalist intervention change your perception and

relation to this space ? It puts the human

being right back at the centre of the

debate. How a space feels and not just how it looks on a rendering. It plays with our perception of reality, it changes our habits and landmarks through an optical illusion that forces us to question what we are seeing. It is a way to explore the thin line between art

(paint), architecture and landscape.

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From the very front, the optical illusion makes you feel you cannot cross the place. But when you go through, the line actually makes you feel the space bigger than it is. (A first prosposal for an anamorphosis in Export Drvo)


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Their relationship between ar and architecture inspires us. T interventions seem simple ye have a strong visual impact on space nevertheless, and witho construction.


Georges Rousse

Felice Varini

Georges Rousse

Georges Rousse

Georges Rousse

Georges Rousse

Felice Varini

Felice Varini

rt Their et they n the out any



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We wanted our participants to be actors of

the workshop. The workshop started with a walk ; two days of exploration and context analysis. We wandered around the factory but

also around the city, discovering the local maritime museum and the castle, the highest point of the city so as to understand the

geographical, historical and cultural context of the factory within the city of Rijeka. Another group of participants went to meet locals to learn about their point of view on the factory and its status in the city today. They took notes of abandoned spaces,

disused buildings, contrasting spaces and different space uses, while collecting graphical elements and shapes that seem to be prominent in the city.

After this exploration, we mapped out the factory and chose spots that we found interesting to work on. We split into smaller groups, according to the spots on our map and they drew designs for their location. Participants had freedom of expression to develop their own project in teams but these projects also had a dialogue.


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GANISATION The participants were completely immersed in the design process and experimented different techniques to project their designs. After some failures and successes, the group determined that the most efficient technique was by just doing

things the old-fashioned way : directing

people with your own eye! After all, no projectors were needed, just a rope or a ruler and your voice to guide your fellow companion from the standpoint were enough for us to project our designs onto the different surfaces. The only constraints we gave for the design were to have simple geometrical forms in order to highlight an area or the activity of the space and the color orange, in order to leave a trace of EASA, as it seems to be this year’s colour, and quite a usual colour in the port (parking spaces, cranes…). Over the course of the two weeks, we

unanimously agreed that this work should serve the purpose of marking our presence in these locations where we worked. Marking our presence would be a way of showing to others that we were here, inhabiting, dwelling,

using these usually abandoned and unused or undervalued spaces. Our

interventions wish to speak to the viewer so as to say, “ Look, we can still do something here! These spaces have stories, histories and value.” This orange color also serves to stand out in this sense, as a symbol of future possibilities

in light of our past presence. If we could do it, others can dream up other uses as well!

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WHERE ? HARTERA ABANDONED PAPER FACTORY In the framework of RE:EASA, we were housed in an abandoned warehouse,Export Dvo, and the bar of the event was housed in Hartera. Spotlight highlighted Hartera, an

old paper factory in the heart of Rijeka, that was bankrupt in 2005. It is a relique of the industrial golden age of the city :

one of the biggest manufacturers of cigarette papers

in Europe until its bankruptcy in 2005. Since then, it has been

used for music festivals, and welcoming people in need of shelter and artists. The interrelation between nature and architecture is especially interesting here : located in the canyon of the river

Rjecina, the slopes are covered with forest that recolonize the

factory little by little. The whole area is interrelated with a nature that has been dominated by mankind. The river was used to give power to the factory. Above the factory, the hills have been perforated several times to fit seven tunnels for infrastructural needs. Power poles run along the hills. A motorway bridge connects the two hills. One branch of the river is dry because of the dam that was built a few kilometers above. Hartera is hidden behind the hill of the castle, but linked to the city and the port by the river. It was our playground to play with anamorphosis to reveal and punctuate the discovery of

this disused industrial area.

We agreed that there is immense value in having this kind of empty space in cities and towns and we recognize that the

Hartera Paper Factory is today already a thriving source and harbor of creativity with many fresquos, grafitis, collages and newly built skate ramps. This empty place that may be considered run down and undervalued is actually thriving with creativity, inspiring people from all over

the world to create and celebrate. Our intervention wishes

to celebrate this in a sense and “spotlight” how valuable this kind of “run-down” space is for a city, and more specifically for Rijeka.

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THE WORK Today in Hartera, you can find the culmination of our two weeks of work; the line, the arch and the


The designs were made to highlight specific elements of the space of the projection: highlighting a specific element of the landscape, or contrasting with the very composition of the space to make people look at it with a new pair of eyes, or playing with the architecture itself.

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LINE DORA DIXON - ANDREJ DOJCINOVSKI - TEUTA BAJRAMI We chose this spot for our intervention because it has a very strong presence in the long walk towards the final building of the paper factory. The wall of arches is slanted, so that when you arrive in front of it, one of the arches is bigger than the rest and at the same time the perspective already messes with your understanding of this facade. We decided to cross a line through it, playing with the already present strong fleeting perspective of these repetitive


When one walks towards the line from afar, it seems like a disconected, rather messy line, hard to really see. As we approach the

viewpoint though, we clearly see a strong orange line, almost as a barrier. But once you walk through this visual barrier, the line actually seems to welcome you into the space, as it begins to unwarp itself, and then you begin to understand what you have just seen. This line even creates a corner seating place when the line spills onto the floor. In the end, this line connects to another work, the arch, creating a strong link between the different interventions. The line was a big intervention to paint, because it may seem like a relatively simple intervention, but as you continue through the space, you can begin to understand the many diferent

surfaces it integrates.

This work is a way of announcing through a

metaphor, that what may seem like a closed

off or abandoned space, can surprisngly unfold itself and welcome you in, if you just look and observe with an open and curious mind.

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ARCH NIKOLA STERSHANOV - VIKI HEVESI - CICEK BAYRAMLY From the very beginning of our stay, the Hartera area of Rijeka established itself as an unfortunate faith of industrialization, abandoned with graffiti and leftover trash. However, the value

of this historic site is infinite, and we felt that it deserves much more spotlight than it is currently given.

As a small group, we distinguished that focusing on the repetitive‘arch’ component would be a great way to celebrate

the shape while drawing spotlight onto it. This arch at the end of the site is many things amongst an entrance, an exit, a gateway, a shelter, a place of transition and conversations, the doorway to many EASA evening ‘events’ where many memories and perhaps life-long friendships have Unfortunately, the arch itself has been covered up by a flight of steps that leads to the rooftop while suggesting that the arch is only an insignificant, secondary object living in the

shadow of a staircase. We suggested to mark the outline of the arch on the staircase

in order to bring the arch back to the

foreground and back to life. While doing so, we felt that mirroring the idea of the arch of the ground itself would lend it a new character, perhaps a ‘pill’ shape to strengthen the

projection of the arch while drawing even more attention and spotlight to it.

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staircase, that can create interesting things with

anamorphoses, and this situation of a wall forcing us to take a sharp turn to reach the tunnel. Our intention being to highlight the already-

present values of the abandoned paper factory, we wished to simply frame the existing black and white artwork that was on a corner, almost as if there was already the intention to play with this angle, so we underlined this. Our wish was not to destroy the existing artworks present in Hartera but rather to play with them

and in this case, amplify the presence of this

artwork, this creativity that exists thanks to this available space.

The frames are here to say «Look, this place is an open creative park! Don’t destroy me or erase me, play with me, create here, you are free!» We wish to show how these seeminlgy empty

voids in cities and towns represent an amazing opportunity for play at a scale that is very rare to find.


We were very lucky this year to have a big group of motivated

project description

made this project possible. We wish to thank them for their time and efforts.

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and passionate participants from all around the world. It is their ideas, their inspiration and their energy that truly








NATALIA MALEJKA Poland - Scotland





VIKTORIA HEVESI Hungary - Ireland





CAZ France


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We created a pluridisciplinary team : our visions and point of views are complementary. ChloĂŠ and Perrine have the eyes of an architect, Clothilde brings a fresh eye on landscape and urban space, while Alex brings his attention to detail and aesthetics. We believe that interdisciplinary team work is essential when thinking about the city, and especially with a workshop which will have a big visual impact. We all fell in love with EASA : the workshops, the intense two weeks in summer, the friends and contacts. We are super happy to have discovered this, because we think that there is a need to have projects like EASA nowadays. First because it is nice to see this generation of people evolving and spreading over Europe and the world, as professionals and as friends; but also in the current political situation with tendency that countries have to



graduated from Paris La Villette a school in 2018, working in Paris,

become more closed to another, we think there is a big urge


of EASA means a lot to us and we are very happy and honoured to have had the opportunity of giving something back to this

PASSIONATE ABOUT : yoga, sketching and chillin dancefloor.

to build and develop something with the function of a cultural and social counterbalance. The network community.

Originally from Los Angeles, Cali ChloĂŠ moved to Paris to pursue architecture and will graduate in recently spent a year abroad in F Japan studying design thinking a design strategy while also intern 403architecture[dajiba] on rehab projects that reuse materials in consideration with their context diploma project studies the trop life in Yangon, Burma and moder of transforming and sometimes local community norms and stru




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EASA EXPERIENCE : participant in EASA DENMARK (2017)

EASA EXPERIENCE : participant in EASA MALTA (2015), EASA DENMARK (2017)

architecture France.

articipant ), tutor in 16) THE

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graduated from Rennes architecture school, working in Rouen (France)

EASA EXPERIENCE : helper in EASA DENMARK (2017) PASSIONATE ABOUT : travels, singing and jokes. During her studies, she has been in the organisation team of the annual workshop of Rennes’ artistic’ universities, in 2015. The concept of that workshop was to question the place of the game in the public space : How could we make it a playground ? This event brings me some managements and communication skills, looking for sponsorships and the sense of doing.

studying and living in Hambourg (Germany)

PASSIONATE ABOUT : people, fine arts, food and jazz Before he started studying architecture, he did a three year training in carpentry and furniture making. Now he is doing an extra course in Social Design, a class at Hamburg’s school of fine arts that explores ways of a more participatory, social and sensitive definition of design (in any scale: from the object to architecture to city and landscape design).

graduated from Versailles school of lanscape architecture (France) in 2016

PASSIONATE ABOUT : dance, graphic design, art, plants, cooking and music. Before studying landscape architecture, she did a bachelor of social anthropology at the University of Manchester. She sees architecture / landscape architecture as a medium to respond to social problems and inequalities. Throughout her studies, she has been questioning neglected and forgotten places, from motorway interchanges to industrial areas and the role of architects, landscape architects and artists to play in these areas.

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Profile for Chloé Macary-Carney


A presentation of the Spotlight workshop, part of RE:EASA Rijeka 2018


A presentation of the Spotlight workshop, part of RE:EASA Rijeka 2018