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[vc_row][vc_column][vc_column_text] Vilalta Arquitectura The Lideta Market in Addis-Abeba [/vc_column_text][edgtf_separator type="normal" position="center" color="rgba(255,255,255,0.01)" top_margin="29" bottom_margin="0"][vc_column_text el_class="caseta"] Location Addis Ababa, Ethiopia Project title Lideta Mercato Architecture office Vilalta Arquitectura Director Xavier Vilalta Project Leader Maria Rosaria Favoino Project Team Joao Medeiros, Miguel Sánchez Enkerlin, Reema Al-Ajlan, Daniel Vaczi Structural engineering K2N Engineering Mechanical & Sanitary Abiy Aberra Client Flintstone Engineering Gross floor area 14.200 sqm Construction period 2010-2016 Photographs Gonzalo Guajardo [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][edgtf_separator type="normal" position="center" color="rgba(255,255,255,0.01)" top_margin="33" bottom_margin="0"][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]The Lideta Mercato was initially intended to be a shopping mall just like many others in the city of Addis Ababa. A rigorous analysis has identified the main issues of the existing malls in the city, which are commonly built using glazing

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Stone blocks, dust, a burning sun and dreadful sultry heat. A swarm of people and lots of hammer blows. A large wooden scaffold and walls made out of white stone. I have no idea how I got here, but everything around me makes me dizzy. I’m trying to move forward through the stone dust curtain, but people cross my path, they stop me and tell me that I must not go any further. The people are tired, stressed, hungry and discouraged. In the hot afternoon sunshine of Curtea de Argeş, Manole's monastery slowly, but surely, rises.

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1 o’clock has struck. The same path I took daily this time was covered in the mud of last night’s storm. I was passing by the same fence, excessively imposing through its massiveness, for a child hoping to grow bigger with every extra spoon of soup he had at lunch. In the back I would find the same building, way to monotonous for the colourful imagination I had back then. However, when I’d enter the luminous hallway with drawings on the walls, something in that sad air would change and the place would suddenly become welcoming. I would climb the

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The observations generating the text reflect real situations within the same household. Following such object systems from micro (in the arrangement of several household articles or fragments of thereof, in a decorative ensemble) to macro (in the case of one or several architectural objects) we can ask: in which way could an object, and especially, an architectural object, become a reflection of itself, without losing anything that offers it functionality, therefore without becoming only a decoration? What happens when, in architecture, the object’s double instance is simultaneously represented?

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There was a place, strongly linked to my existence, in which the reality I was living in day by day reflected the cohesion between the real and the imaginary, hallucinatingly exposing my own fears. A place where the ordinary became in fact the seed of a tense state, through the strange mixture of objects, smells and shapes, defining the existence of a hidden breath. I can’t, after all I have lived in that place, stop questioning myself regarding the reality we perceive and the role that the imaginary has in shaping it.

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Such as any other existing thing, that is subjected to a reference system, which has an evolutionary historical course, music has its own structure, which, following the rules of normality, develops in parallel and dependently on several plans directly connected to one another. These plans complete each other, enabling the temporal existence of sounds, structured horizontally and vertically in cells that present a complex structure that is independent from all the other needs a sound has in order to exist.

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Imagine I’m in front of you, talking; there are maximum 30 centimetres between us. You don’t know me, but you’ve paid to see me. This is how I start the show: before you. I look at you and I smile. Tac. I look at you and I smile. Tic. Is it a tic? Every gesture an actor does uncontrollably is a parasite. I look at you and I smile shamelessly. Tac. I smile. Tic? I look at you, tac. Can you feel this dilated time? You can feel the time we perceive on the stage. You are there with me.

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