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Drawing on the City

A col­lab­o­ra­tive work by Cather­ine du Toit and Peter Thomas of 51% stu­dios with artist Han­nah Collins.

‘Draw­ing on the City – A walk through his­tory’ is an archi­tec­tural and sculp­tural project of seven instal­la­tions con­ceived as a route through the chang­ing land­scape of  Barcelona and St Adria. The route and instal­la­tions make vis­i­ble again the cul­tural her­itage and expe­ri­ences of the peo­ple of Barcelona, which has some­times been over­laid, some­times for­got­ten, some­times displaced …

The new struc­tures embed col­lec­tive mem­ory and imagery in the cityscape, bring­ing a con­tin­u­ous and present sense of his­tory to the city by point­ing to the real and devel­op­ing land­scape it contains.

Along the route vis­i­tors and local res­i­dents are able to see and under­stand the cityscape, becom­ing aware of essen­tial his­tor­i­cal struc­tures and newly devel­op­ing urban plans.

The work is an active and engag­ing series of dia­logues around the role of the city in the mak­ing of com­mu­ni­ties and indi­vid­ual expe­ri­ence. A pos­i­tive role is cre­ated for both the sculp­tural sce­nar­ios and the audience/participants.

Draw­ing on the City was exhib­ited in the Caixa Forum dur­ing the sum­mer of 2008. For more infor­ma­tion, please see Han­nah Collins’ web­site.


The House of Doors sits at a meet­ing place between the land and the sea, and makes ref­er­ence to the sea as a first point of con­tact for many of the cities early migrants. Float­ing pale like a ghost, from the moment the first light illu­mi­nates the sea to the lower light of the evening, the House of Doors evokes two dis­tinct moments in time: a mem­ory of using doors to build his house in 1962 recounted by a for­mer res­i­dent of Somor­rostro and a pho­to­graph of a home built from 16 wooden doors, taken by Han­nah Collins in 2003. The small pon­toon tempts swim­mers out to use it as a meet­ing place. For those not swim­ming it pro­vides a res­o­nant image seen from the shore.

The Por­tal is the site of the inter­sec­tion between Cerda’s diag­o­nal, the Tramvia and Avin­guda Litoral. It is also a node in a series of walk­a­ble and cyca­ble loops link­ing Barcelona, Barceloneta and Poble Nou with San Adria and Badalona. The por­tal is an ori­en­ta­tion map for the over­all project, an exten­sion of the tram plat­form worked in coloured enam­els with each of the seven instal­la­tions colour coded and linked into the fab­ric of the city. The por­tal entices you to explore the neigh­bour­hood, to ven­ture deeper…

In San Adria,at a thriv­ing Tues­day mar­ket below the free­way local bird keep­ers meet to com­pare, exchange or trade their birds. The Singing bird wall is set in a quiet spot under trees near one of the entrances to the market.

The diverse areas around la Mina were, until recently, home to many horses, kept in back­yards and on a horse farm on waste ground. Horses formed an inte­gral way of life in the area and were used to pull recy­cling carts, for trans­port and for trade. Recent changes have seen the horses dis­ap­pear. A place of horses is a happening/event that sees the horses return to la Mina, and is inspired by the work of Muy­bridge and Asger Jorn at Albisola. A series of iden­ti­cal con­crete pan­els will bear the immac­u­late detailed evi­dence of a horse-run through spe­cially pre­pared troughs on the rivers edge. Once dry they will be tilted and lifted into posi­tion on the adja­cent retain­ing wall to form a per­ma­nent sculpture.

Dur­ing the Sum­mer the ground sur­face of Paseo Cameron is cov­ered in the extra­or­di­nary draw­ing of the chil­dren of la Mina. By night-time often the whole plaza of over 200 metres is cov­ered by draw­ings which are replaced by renewed activ­ity the next day as the draw­ings fade and are walked off the Plaza. The Wall of Dreams is located in a local cul­tural cen­tre. It is made from ceramic tiles, var­i­ous shades of gold in colour which carry imprints of the chil­drens’ chalk drawings.

Pavil­ion is a col­lec­tion of green struc­tures ded­i­cated to pro­vid­ing a series of ameni­ties within the park. It is sited on the raised ground beneath the trees to cre­ate a series of dis­creet spaces which can be open to the sky, shaded by the tree canopy in sum­mer, or in the win­ter sun.

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