In the narrative that is to follow the protagonist will be the city or the public space and the people who occupy it. We wanted to imagine a structure that would be a place for conciliation and the emergence of short stories. Our synthetic course started by reimagining small fragments of the city which we wanted to transform into the sphere of public coexistence. We were drawn to the imaginary aspect of the city which we formed through cinematic recordings. There we saw a city in which the sea is the protagonist, often leaving the building out of the narrative. As Thessaloniki is filmed, the fitting of the frames will display the sea multiple times. This is how the city is experienced. With the gaze often towards the wave creating paths and wanderings near the water. We look at the polluted waters from a distance and finally the sea acquires an almost exhibition character.

 But we see people to the east diving and playing with her in a scene with the city in the background to their right. This is how the urban diving ritual came about. To this is added his ritual cinema, setting the condition of cinema watching as a design trigger. Having the ritual of cinema watching as a guide for the movements and gazes but this time this takes place not in a dark and closed cinema theatre but in a public space. The cinematic spectacle is replaced by the city itself which, as ubiquitous, will always resonate with the rhythm of the narrative. Thus arose a plateau in which the concepts of spectator, spectacle and conciliation of the two will be fluid. The synergies of the place and the people will be overlapped by the now embodied interaction with the water.