As residents of Pagrati, we observe that, in recent years, the area is changing-transforming from the inside out. Extensive renovations result in the production of a huge amount of architectural (and non-architectural) waste which is located throughout the area.

 Incorporating the concept of the crab collector, we map, photograph and collect waste. After cleaning, sorting and crushing-segmentizingthem, we use/invent modern variations of the mosaic technique in order to create new surfaces/materials, thus giving new life to materials whose lifetime was considered finite.

 Through experimentation, trials and errors on a 1:1 scale, new surfaces are finally born which we compose in an improvised construction/sculpture. The architectural fragments have now been turned into fossils, “spolia”, pieces of older generations integrated into a new structure.

 We choose the plot between Yvikou and Zappa streets. It is officially owned by the municipality, but this is a controversial fact, since some families claim that it is their property. By studying/searching the boundaries of the private/public, the ways of appropriating a space, the importance of the neighborhood/community/participation both on a personal and collective level, we want to produce public space, involving users/craftsmen in the construction process.

 We integrate the process of making improvised mosaics on a building scale. A sculpture mechanism consisting of a crusher, a concrete mixer, and a pump is the core of the structure. This mechanism feeds a system of pipes that encloses the entire construction, ending in selected vertical and horizontal surfaces. Waste is collected, cleaned, sorted and then, with the help of the user/craftsman/manufacturer, is placed inside the mechanism. There it is crushed, mixed with concrete and then channeled into the selected building surface.

 In this way, a three-dimensional square, a labor palace, a perpetual construction site that is constantly evolving through participation, is gradually 'printed', emphasizing both the personal and the collective imprint. Work/Labor takes on new dimensions, and attempts are made to connect it with fun, socialization and the increase of collective consciousness.

 There are two phases of construction. In the first, an all-metal structure consisting of pillars, grids and pipes, is placed on the plot having as its core the mosaic production mechanism. On the ground floor waste is collected, cleaned and sorted while molds are also made which are placed on the respective surface that the user wishes to ‘fill’.

 On the first floor, smaller-scale mosaics are made-dried-grouted and assembled into improvised furniture-sculptures, which are then placed in selected areas of the square.

 The waste is fed from the top of the mechanism, which is at floor level of the second floor. Then the appropriate nodes of the hydraulic system are opened in order for the concrete to reach the desired wall/floor. The user then fills the surface using the outlet of each tube.

 In this way, all the defined vertical and horizontal surfaces are gradually 'printed'. In the second phase, the construction has built-in mosaics on its metal elements. The filling process ends, but the mechanism remains there, it turns temporarily into a fossil as well. At the same time, the smaller-scale process of producing mosaics/making furniture continues. The structure is now a three-dimensional square-workshop, a local forum-center of socialization through the practice of crafts, a public space made by the community for the community, now having the visible individual and collective imprint of users/builders.