A laboratory for local cultural practices

Arente, a rente, arrente: (Del port.). adv. A ras [= casi tocando o al mismo nivel de una cosa]

Arrente La Palma es un proyecto iniciado en 2023 que busca establecer conexiones entre agentes locales, saberes y expertos para explorar políticas culturales innovadoras que pongan en valor y protejan la cultura de la isla. Su objetivo principal es reivindicar la importancia de la cultura en el contexto contemporáneo de las zonas alejadas de los grandes núcleos urbanos, especialmente vinculadas con el paisaje que las envuelve, tejiendo redes sólidas de apoyo y aprendizaje. La zona de actuación principal es el territorio del Valle de Aridane, donde las condiciones del paisaje abrupto han creado límites fronterizos que aíslan y ponen en riesgo la cultura.

Seeking to raise the profile of the cultural dimension of these landscapes, the project is based on fieldwork, exploring the territory alongside local cultural practitioners in order to document all the knowledge and traditions that often go unnoticed by cultural institutions. In this way, it becomes a living laboratory of local cultural practices, a creative process for testing new methodologies that may inspire future cultural initiatives.

Between autumn 2023 and summer 2025, we explored La Palma through curated walks, sit-down discussions, meetings and events with experts and residents of the island.

The curated walks enabled us to explore, through direct experience, the dilemmas between the rural, the urban and the cultural. The tours of El Llano de las Cuevas and the outskirts of El Paso raised issues such as the abandonment of traditional crops, land stewardship, conflicts between rural and urban land uses, fire risk planning, and the revitalisation of heritage features such as threshing floors.

The round-table discussions became spaces for dialogue between cultural practitioners, experts and institutions. The first, held at the Pino de la Virgen, highlighted the over-scheduling of events and the precarious situation of cultural practitioners, calling for support networks and the revitalisation of abandoned spaces to foster a sense of community. The second, held on a threshing floor next to the church of El Paso, highlighted the ethnographic and intangible heritage at risk of disappearing and proposed new social uses for threshing floors, cisterns and ovens.

Two closing events embodied the project’s spirit of ‘pairing’. At the Pedro García Salguero’s almond eco-farm in Tacande, a discussion on land stewardship and generational succession was accompanied by a demonstration of traditional almond cheese-making and a tasting of delicious local cheeses.

The second event, held in front of the Virgen del Pino Chapel, centred on the heritage of the Valle de las Cuevas, featuring a live mural by the artist Ángela Glezal and a set by DJ Monterreina that transformed the public space into a dance floor. The furniture used for the activities was built at the municipal workshop in El Paso with the help of Manolo Villalba and donated to the Town Council for reuse in future programmes.

Rather than a conclusion, Arrente leaves things open-ended: tools to continue thinking about and fostering culture in the region, and a starting point for new connections and future programmes. All the work carried out by the laboratory can be explored through the printed dossier and the online map illustrating the network of stakeholders who have been part of Arrente.

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The ways of building and living that make a shelter come to life

Inteligencias Colectivas (IC) is a cultural project developed by the team at the Zoohaus Cultural Association in collaboration with various partners since 2010. It is an open research platform focusing on design and cultural heritage, an archive for sharing knowledge about construction details, inventions, objects and processes of a cultural, architectural or tactical urban planning nature that are not standardised.

IC Ethiopia aims to discover, catalogue, improve and develop ways of building and living that are specific to the Dolo Ado refugee camps in southern Ethiopia. Building on this, the project enables different communities to participate in a two-way process of design and development to achieve a better and more resilient life whilst they are in the camps.

In October 2022, we travelled to Ethiopia on a two-week mission to the Melkadida Refugee Camp. Melkadida is one of five refugee camps in the Dolo Ado region, alongside Kobe, Hilaweyn, Bokolmanyo and Buramino. Situated on the border between Somalia and Ethiopia, these refugee camps currently host more than 219,000 refugees, the majority of whom are from Somalia.

The main aim of the trip was to carry out an initial assessment of the camp, understand how it operates and explore potential opportunities for increasing collective knowledge. We managed to meet with many local associations, schools and co-operatives, as well as the camp’s local government, to hear stories and anecdotes about the camp.

During our many conversations, we recorded numerous examples of ‘low-tech’ solutions developed by and for the community, which we identified as the ‘collective intelligences’ of the place. These are practical, constructive solutions that the community has developed over decades, such as containers for carrying water, coverings for the walls and roofs of homes, and even play items. All this research is detailed further on in the project report, and the knowledge recorded is illustrated and catalogued on the Inteligencias Colectivas website.

This research was made possible thanks to the collaboration with the Spanish Office for Technical Cooperation in Addis Ababa and the organisations managing the refugee camps, UNHCR and ZOA. We would also like to thank the emerging local organisations and initiatives that did not hesitate to share their knowledge with the team and assist us at every stage: Women’s Group, Refugee Central Committee (R.C.C.), Dehabo Abikr Adam, Youth Association, Bekele, Mother Crafts Association, Abderrahman Ibrahim Soobou, Mohamed Adush Hasan, and the many other people who have supported us throughout this project. 

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Curated walks in Madrid’s Fuencarral neighbourhood to rediscover the natural and cultural heritage of its streets

Sendas (o)Cultas is a research project based on practice through different artistic and educational disciplines that provide a critical and reflective look at the disconnection we maintain with the urban nature of our environments.

The aim of Sendas (o)Cultas is to inventory the good environmental, social, artistic and educational practices that take place in neighbourhoods (allotments, meeting places, self-managed centres, community gardens, open spaces, neighbourhood actions, etc.), record them by creating a toolbox (maps, sound files or other formats) and use these learnings to apply them in forgotten spaces in the neighbourhood. The Fuencarral district was chosen for the development of the first path, specifically a strip of land between the wasteland of the future Chamartín operation and the old Fuencarral settlement.

Sendas (O)cultas Fuencarral is a project of Ciudad Huerto, a training itinerary that brings together the learning and experiences of community gardens in the city of Madrid. The project was born with the idea of being able to replicate the methodology in different neighbourhoods of the city. 

But, how do we clear these hidden paths?

Initiatory routes

In the first phase of the project, ‘Initiatory routes’, important agents in the neighbourhood are asked to guide us along a personal or thematic itinerary. These walks are done collectively, contacting neighbours and collectives who live in these corridors or who know them because of their connection with the territory. We work with physical and digital research, mapping urban nature, but also cultural projects or human landscapes.

Extracting learning along the way: The toolbox

The second phase of the project consists of identifying and translating the data extracted from the mapping of the paths into formats that make it possible to transmit what has been learned in a clear and concise way: digital maps, catalogues, sound files or manuals. The new ecological corridors identified hide a large number of intelligences (endemic species, citizen innovations, urban ecosystems) and it is part of the project to be able to identify them in order to make them useful on an urban scale.

Cultural and artistic interferences

In a third phase, artists, botanists and urban culture experts are invited to help us find and make visible the paths towards a city that is friendlier and more respectful of its surroundings: searching for hidden waters, discovering the origins of the flora of our neighbourhood through music or composing a collective sound score are some of the inspiring actions that we carry out on the territory we have travelled through.

Sendas (o)Cultas Festival

The result of this year-long research work was concentrated in the ‘Festival Sendas (O)cultas: Caminar para revelar’, an open-air festival to celebrate and discover what often goes unnoticed. It took place from 22 May to 4 June 2021 and involved walking through the village neighbourhood in search of hidden streams, forgotten stories of former settlers and the plant symphonies hidden in the neighbourhood gardening of its streets.

In addition, three actions were programmed as an artistic ‘distillate’ to be developed in the neighbourhood. Once we had catalogued the PONC (Points of Naturcultural Oblivion) that we discovered in the different thematic itineraries carried out, and using the learning gathered in the toolbox, interventions were carried out in these PONC, such as the installation of totems and plaques in the neighbourhood gardens or the collective planting of fruit trees in the inter-block spaces.

The aim of Sendas (O)cultas is not only to recover and enhance the value of these spaces and practices, but also to encourage dialogue and citizen participation in the construction of more sustainable, just and liveable urban environments.

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Tracing itineraries in Madrid’s Villaverde neighbourhood in search of communities that drive more sustainable changes from their gardens

Sendas (o)Cultas is a research project based on the practice through different artistic and educational disciplines that provide a critical and reflective look at the disconnection we maintain with the urban nature of our environments.

In this project, art and culture are used as tools to communicate the innovation and knowledge of experimental gardening that have emerged from the citizens of Villaverde. The starting point is the discovery of good environmental (Nature-based Solutions (NBS)) and cultural practices that occur in a territory, documenting and extracting the learning observed, enhancing them by transferring them to environmental and social recipes and applying them collectively to deteriorated, forgotten or invisible spaces in the neighbourhood.

Thus, the methodology tested in 2020 with Sendas (o)Cultas Fuencarral is used to build and disseminate new imaginaries and narratives about the socio-environmental paradigm shift in which we are immersed. 

Sendas (o)Cultas Villaverde: Environmental Clinics

If in Fuencarral nature and culture were the connection to implement actions with citizens, in Sendas (O)cultas Villaverde the aim is to investigate the connection between nature and community health to heal the territory and contribute to adapt and mitigate the scenario of climate emergency towards which we are moving and in which the BNS can play a decisive role. One of the means developed for this are the ‘recipes’. The recipe is the traditional and classic format through which popular knowledge has travelled for centuries, a shared and common knowledge. Sendas (O)cultas Villaverde is thus configured as an itinerant clinic that will elaborate and apply environmental and social recipes.

ZASS (‘Yellow Sustainable Sensitive Zones’)

ZASS is a project co-financed by the Montemadrid Foundation that seeks to experiment with a diverse community fabric on new models of gardening that adapt in a more sustainable way to the climate change scenario in which we live.

Sendas (O)cultas proposes the generation of a diverse and open learning community . Through itineraries in which contact is made with the community fabric of the district, exploring local ecosystems, a learning community is forged around experimental gardening that will seek to implement ZASS gardens in the neighbourhood.

Garden Atlas

Building on the experience and complicity of the learning communities in the ZASS phase, this new phase seeks to further expand the recognition of ecosystems in collaboration with the Nomad Garden collective. A mapping of agents and species is being developed through the Garden Atlas platform, recording everything identified during the walks. The photographer Bego Solís accompanies us throughout the process to make a kind of portrait of each gardener and his or her garden.

The open field

In parallel to the artistic interferences, we design our own interventions that support the experimental gardens found in inter-block spaces, balconies and public spaces. The biodiversity of the district’s open spaces is highlighted with the aim of promoting a change in the aesthetics of gardening in public spaces. It also encourages the physical and digital connection of these spaces and promotes the emergence of new experimental gardens.

Sendas (o)Cultas Villaverde-ZASS Festival

Finally, a second edition of the Sendas (o)Cultas Festival is held as the culmination of the project. After travelling around the neighbourhoods to discover the district’s hidden neighbourhood gardening, artists, botanists, landscapers, chefs, etc. are invited to turn these experimental gardens into new scenarios for celebrating, listening, experimenting, prototyping and producing new narratives to reach new audiences.

The Festival is configured around six open and free artistic proposals , which will take place between June and December 2023:

– Sounds from the Third Landscape. Improvised musical piece composed by Chefa Alonso with the Afandice occupational gardening group, inspired by three species of wild plants. Held in the ZASS neighbourhood garden of the María Moliner Library.

– Hand Made Urbanismo. Self-building workshop in the Los Pinos vegetable garden in the San Cristóbal neighbourhood, in collaboration with students from the Pontificia Universidad Javeriana in Bogotá.

– Invocamos al Butarque. Sound walk by the artist Susana Jiménez Carmona in collaboration with the Escuela Municipal de Música Antón García Abril de Villaverde along the old bed of the Butarque stream.

– A peripatetic garden. A strolling conversation with the landscape gardener Teresa Galí through the neighbourhood gardening of Villaverde Alto.

– Wild flavours. Gastronomic tasting of dishes made with wild flora by chef Kike Gallardo, from El Herbario Comestible, in the gardens of Afandice.

On 21 March 2024 we celebrated the change of season from Sendas (O)cultas Villaverde with a curation by Bosque Real together with the artists Lorenzo García-Andrade, Cris Blanco and Anto Rodríguez, once again realising the beauty and richness of the natural heritage with which we inhabit the city.

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Building Bonds Between Formal, Non-formal and Informal Education

Architecture School of Commons (ASOC) is an experimental program of architectural pedagogy and territorial transformation that connects architecture students, academics, professionals, and local communities through workshops, events, and activities.

ASOC emphasizes the long-term relationship between rural communities and their natural environment, exploring the concept of “commons” and highlighting the notions of reuse, care, and solidarity in architectural practice and education.

At the heart of the project lies mutual and peer-to-peer learning, self-organization, and commons practices, along with a strong commitment to fostering collective climate awareness, aiming to integrate climate thinking into architectural training and practice.

Pilot Experience 2022–2024

Over three years, ASOC has organized intensive workshops in three rural European areas in France, Italy, and Greece. These regions share common issues such as reduced public services, depopulation, aging populations, and a wealth of architectural heritage that remains unused.

In each location, ASOC collaborates with local communities and initiatives on pilot experiences in territorial transformation that benefit both the inhabitants and the region, promoting an architecture committed to people, heritage, and the environment.

ASOC FRANCE 2022: Culture of Reuse

The Place des Possibles in Saint-Laurent-en-Royans serves as a space for work, learning, exchange, and community gatherings, amplifying projects that serve the community.

ASOC’s first experience in 2022 focused on the concept of reuse through design. In the initial phase, a series of lightweight, reversible, and temporary micro-architecture prototypes were built, allowing participants to test different uses and low-tech construction techniques that emphasize local material resources (materials and components) and intangible resources (know-how and methods).

The prototypes produced during this pilot workshop became the foundation for a second phase, in which the infrastructure of La Place des Possibles was reorganized. For example, the central fixed kitchen was modified, and a mobile kitchen was created. Additionally, a series of podcasts, posters, signage flags, and a printed publication were produced.

ASOC ITALY 2023: Umano no umano

ASOC’s second experience took place at La Casa di BelMondo in Belmonte, Italy. Since 2019, Casa di BelMondo has been a collaborative space for architects, clients, and the local community.

In the first phase of the workshop, a group of ten students from the Polytechnic University of Turin, along with faculty and ASOC partner collectives, inhabited and worked in the basement spaces of Casa di BelMondo, experimenting with a new form of collaborative work: the “Cantiere Domestico.”

The spaces of Casa di BelMondo were transformed into a dynamic laboratory where participants could collect, study, and experiment with various construction techniques and materials. This experimental process was also guided by local artisans and experts, such as Franco, a local tiler, and Gerardo Vespucci, a historian from the area. Living and working in the space became a collective growth experience, a search for social, material, and cultural textures to respond to the needs of the place.

In a second phase, the spatial research from the first phase materialized with the construction of a new structure between the first and second floors of Casa di BelMondo, designed to meet the diverse needs of those residing in Belmonte for medium to long periods throughout the year.

An abandoned area of the house was redesigned, transforming it into a hybrid space using recycled materials directly sourced from the dismantling of other parts of Casa di BelMondo.

ASOC GREECE 2024: Waterlandscapes

ASOC workshops in Greece took place at the Tirilab headquarters in Morfi, an old abandoned school recently returned to the village as a space for architectural experimentation and community gathering.

Tesprotia, in the north of the country, is a region impacted by population decline and characterized by a landscape marked by water, a natural resource at risk. The region hosts several local initiatives led by women focused on preserving local traditions and resources.

Water is deeply connected to the area’s history and mythology, yet it also faces the impact of local and global ecological challenges such as overexploitation, mass tourism, and climate change.

During two intensive workshops, where participants lived and worked in the old school of Morfi in collaboration with the local community, ASOC participants had the opportunity to investigate local water landscapes, understand their mythological importance, and explore their political and social implications.

The workshops were structured around three scales of work and research: the mythological courses of water, water as a way of life, and water as a common good.

Work was carried out on various scales, including the restoration of local routes, the care and construction of public infrastructure, and the mapping of biodiversity sites connected to water through the study of local legends and myths.

New infrastructure and public furniture were restored and created at the old school in Morfi and its surroundings. In collaboration with the local initiative Vrilissos, the mythological route between the Morpheus cave and the Styx lagoon was researched and restored. Sites such as Lake Kalodiki were mapped, examining their connections with the area’s ecological challenges.

Reflections and interviews with the community and local experts were recorded in radio format, and the old school of Morfi was inhabited and cared for, inviting the local community to participate in the discoveries and presentation events.

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An artistic platform rooted in the forests of Madrid

“To be honest, creating BOSQUE REAL has taken us on quite an adventure. We’ve climbed over fences, scaled towers, interviewed some rather questionable characters, conducted investigations parallel to those of the Civil Guard, reached out to celebrities, sent long voice notes, crossed kilometers of parkland without any moonlight or battery on our phones. But in the end, what we discovered wasn’t a secret. We returned, crossed the Puerta del Rey and left it all behind, the palace, the cathedral, the ordered stone of a capital city, and the people entered and shouted, “The forest pushes towards the city, Madrid flows into the river, crosses the bridge and enters, we’re waiting for you!” There, we lost ourselves among rabbits and trees, amidst History and the stories that were truly waiting for us”.

Bosque Real is an artistic platform that revisits the nature of our cities from a contemporary perspective, preserving forgotten heritage and reimagining it from new perspectives.

Bosque Real is, fundamentally, a meeting point. With nature, the city, history, contemporary arts and citizenship. It opens up places that have never been accessible and where we encounter the past from a shared and joyful present.

This platform arises with the main goal of disseminating the importance of metropolitan forests and their conservation. This work is carried out through different formats: performances, projections, visits and walks, workshops, meetings, etc., which deal with processes and cultural elements such as history, landscape, gastronomy or ecology.

Bosque Real main location is Madrid’s Casa de Campo, a 1,700 hectare historic park located to the west and accessible from the city centre. Its programme is annual and is based on the site-specific concept, in which places and historical events are selected to make specific commissions to artists from different backgrounds and trajectories and to dialogue with the communities that live and work in these places.

Since 2019 there have been pieces and interventions by artists such as David Bestué, Patricia Esquivias, Sofía Montenegro, Miriam Martín, BRBR Films, Julio Linares, La Orquesta Sinfónica de Vallecas, bwelkeke (Maral Kekejian, Juanito Jones, Lorenzo García-Andrade and Maria Buey), Adriana Reyes, Carolina Sisabel, Alejandra Pombo Su, VAHO (Paulina Chamorro and Dani Carretero), Institute for Postnatural Studies and with the photographs of Antonio Xoubanova, Bego Solís, Jorge Anguita Mirón, Lourdes Cabrera, Iñaki Domingo, Lucía Antebi, Claudia Claremi, Mónica Valenciano and the collective Real no Real.

Follow Bosque Real on Instagram: @bosquer.e.a.l and subscribe to the newsletter by emailing hola@bosque-real.es so you dont miss any of the upcoming events.

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Autonomy and disability in rural areas through collaborative urbanism

Here Be Dragons (“Hic sunt dracones”) was a phrase used in the Middle Ages to describe the unknown territories beyond the explored world. On maps, these uncharted areas were often adorned with sea serpents and other mythical creatures.

Here Be Dragons is a project that works with people with disabilities to increase visibility, empowerment, and promote autonomy, abilities, and equality within this community. These individuals, particularly in rural and peripheral areas, are often less visible and less involved in communal life.

The project fosters a more inclusive urbanism through artistic and collaborative practices. These practices encourage the development of work habits, stimulate observational skills, and inspire transformative changes in participants, helping to build self-esteem.

The first edition takes place in the fall of 2019 in Santa Cruz de La Palma, specifically in the peripheral neighborhoods of La Dehesa, Las Nieves, and Velhoco.

Here Be Dragons builds connections between different groups to create a network that explores new ways of living and sharing public spaces. The project involves artists Clara Moreno and local artist Raisa Maudit, in collaboration with Plena Inclusión Canarias, various associations, and occupational centers whose members possess a deep knowledge of the local history and context. It also works with neighborhood associations, municipal workers, botanists, and even the parish priest of the Royal Sanctuary of Our Lady of Las Nieves.

Through a variety of workshops, participants share experiences and learnings via walks, urbanism workshops, and design and construction sessions. These activities highlight the natural surroundings, flora, memory, and heritage of iconic places like the Royal Sanctuary of Las Nieves and the Barranco de Las Nieves.

The project culminates in a “pilgrimage” through the ravine, activating various points along the path with furniture designed and built by participants, the artists, and Zuloark.

By installing this furniture and engaging in activities such as plant collection, drawing, storytelling, and gathering personal interests, memories, and music, the project fosters the reclamation and reinterpretation of public spaces. It emphasizes the value of the natural and cultural heritage of the area while enhancing the visibility and inclusion of people with intellectual or developmental disabilities through artistic practices in the rural context.

The “pilgrimage” invites families and the broader community to participate, encouraging collective reflection on how to improve our surroundings through learning, collaboration, and building inclusive and sustainable networks.

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Adaptation of the former Roman Ship Museum into cultural facilities

How do you measure the quality of a piece of architecture? What parameters could establish whether a building is a good example of architectural practice or not?

The Casa delle Arti di Comacchio has been a perfect case study in the analysis of these questions—a public work of significant social importance made with a reduced budget and the need to satisfy highly-technical acoustic standards, while being located in a context of great historical and monumental value—, a true commitment to low-profile local architecture with a high impact on the community. 

Comacchio is an ancient town in the province of Ferrara in the north of Italy, a small Venice in the Po Delta surrounded by lagoons and canals that for years has been a destination of niche tourism. Since 2019, the city has seen the birth of the new Casa delle Arti, located in the old prison of Palazzo Bellini, that has become a space fully dedicated to cultural and educational activities for music and the performing arts.

The space not only meets the functional technical requirements for the activities that take place inside, but also tries to respect three principles that we consider indispensable for this type of project:

Recognition. The more the intervention is recognisable, the easier and more direct is its reading and that of its pre-existence, making explicit the history of its manufacture and its transformations over time. All the architectural elements in the project are made of wood and glass, materials in harmony with the context but also easily perceived as signs of the new intervention.

Reversibility. Thanks to the use of dry technologies, the project is completely reversible. In this way, from a conceptual point of view, it at no point competes with the historic building that houses it. The lightness and ephemeral character of the contemporary project is contrasted with the solid and austere character of the robust brick building typical of medieval prisons.

Environmental sustainability. The choice of using natural materials, in particular wood, came out of a willingness to rethink building and making architecture in order to comply with the economy and functionality of the work, while also prioritizing in our practice a respect for the environment. Among the traditional building materials, wood is considered one of the least energy-consuming in its production process.

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A project for the visibility of people with disabilities in rural environments through artistic practices and urbanism.

‘‘Here be dragons’ (“Hic sunt dracones”) is what was written in the Middle ages maps by seamen at unexplored territories. “Here be Dragons” (Aqui Hay Dragones) is a project for the visibility of people with disabilities in rural environments through artistic practices. Working alongside people with disabilities and local artists, the project seeks to empower and promote the autonomy, capacities and equality of a community that lacks participation in common life. This project explores inclusive art and urbanism, using creative practices as tools for the rural communities of people with disabilities to concur the public space of their territories.

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Protection and conservation of Madrid’s common commercial graphic heritage

PACO GRACO is a project dedicated to the defense and preservation of Madrid’s commercial graphic heritage, understanding this heritage as an essential part of the city’s memory. Its goal is to safeguard old shop signs from neighborhood businesses that, in recent years, have been dismantled and destroyed on a massive scale.

Since 2017, the Paco Graco collective has been collecting commercial graphics from numerous businesses that close in Madrid, rescuing them from disappearing. It not only recovers handcrafted signs from century-old shops but also those from more recent businesses that barely remained open for a few years. Through these pieces, the project brings back the stories of these businesses and the people behind them, retelling them through exhibitions, tours, web platforms, maps, and documentaries.

This collection, which now includes over 150 signs, can be seen as a graveyard of businesses, a museum of displaced shops and streets, or even a witness to what our public space has been and could become. It serves as a kind of textual palimpsest, a lesson in the history of Spanish graphic design with its aesthetic and political changes, and an exploration of the transformations our cities undergo.

Throughout its journey, this project has connected with a diverse group of artists, historians, designers, and neighbors who have long worked to conserve and highlight this heritage through photography and other artistic practices, as well as through the implementation of public and civic policy initiatives. This network of individuals has united under the umbrella of the Iberian Network for the Defense of Graphic Heritage, seeking to collaborate with similar initiatives on a European scale.

PACO GRACO has been featured in spaces such as the Casa del Reloj at Matadero Madrid (Cuida tu barrio, 2019), La Casa Encendida (Los Rótulos de Paco Graco, 2023–24), and CentroCentro (No va a quedar nada de todo esto, 2023–24). Public interest has allowed the project to expand beyond the design sphere, demonstrating that the preservation of a city’s heritage acts as a social unifier, raising awareness about the importance of preserving the identity fabrics of neighborhoods and cities.

PACO GRACO is an ongoing project because we believe the best way to preserve heritage is to keep it alive. So, if you know of a sign at risk of being lost, contact us.

Will there be anything left of all this?

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