Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where he lives and presents them in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes.

On a concrete block structure, Cidade contrasts the two materials. Looking closer, one, notices the latches made by the mallets on the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures from the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.

Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where lives and presents them now in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes. On a concrete block structure, Cidade contrasts the two materials. A careful glance, however, notices the latches made by the mallets in the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures of the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.

In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.

In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.

In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the humanscale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.