#thevalueofgarbage : between symbolic value and materiality | design project by Andreas Angelidakis

“Even nowadays, as Greece is navigating its’ second major financial crisis, one can sense that the country is a collage between the glorious and somewhat virtual ancient past, and the live real present…As a result of these notes on aesthetics and history, we devised the space of Feeder, at the Breeder project space, as a combination of two spaces. One space is inhabited by a pristine white lacquer system of modular seating and dining units, the other by mismatched, used chairs and tables found in the area of Metaxourgeio. The two spaces are collaged together, as a continuously evolving ruin where chairs become benches, tables extend to become columns, new seats are born from old, and richly woven traditional kilims are laid on glossy white surfaces, in an architecture that continually copy-pastes between the virtual ancient past and the real folklore present.” (Feeder, at the Breeder project space) via

Andreas Angelidakis, “Domesticated Mountain” (2012)

“Domesticated Mountain is the story of citizens grewing up in an undefined suburbia. Their parents came there to avoid the noise and the pollution, chasing a post-fordist dream of life with a back yard and a double driveway, their home closer to nature. They had visions of mountains but now suburbia was just bundle of credit-card ruins, the post-fordist dream turned into neo-liberal nightmare. People never stopped buying, some of them forgot to throw away, or to pay. Now they could buy in their sleep, on a trip to Egypt, riding a camel, browsing the latest bargains on Uniqlo, lets get another cashmere blend sweater honey, even in the sweltering heat.”


Robert Venturi and Denise Scott Brown in Las Vegas, Nevada, c. 1966 via Andreas Angelidakis + Paperny

We’ve been very careful to say “you should not translate a theory into a building — you’ll get a very dry building.” We have this oscillation between looking, and researching, and writing, and working things out in our heads, and designing, and working things out with our hands. And these always go together.

The postmodernism that was taken up by Philip Johnson and used in a very gross way is nothing of what we are concerned with. But there was a postmodernism that was a social movement, theological movement, literary movement, which talked about the end of innocence with the Holocaust, about multiculturalism, about reserving judgment, about being skeptical even about your own best ideas — that we very much agree with. I’ve traced influences on me that come out from Africa and through Europe where I studied in the 50s to America of the 60s. Out of that we derived a certain postmodernism but certainly not the architectural one that we find specious. If it’s our child it’s an illegitimate child.