Critical Spatial Practice

Ridley’s (2011)
  • The Decorators + Atelier Chan Chan | Ridley Road Market, London

  • Ridley's Ridley's (Book)
  • Creating its own alternative economy, Ridley’s demonstrated that architecture can be more than a commodity, socially engaged and influential. By expanding its tools and modes of practice and borrowing from the procedures of informal and spontaneous exchange systems.

    Visitors to the restaurant became part of a cycle. £3’s worth of market produce from our shopping list could be exchanged for the dish of the day at lunch or £15 provided an evening meal, with diners getting back a £5 food shopping voucher for use at the market. The produce collected at lunch was used to cook dinner, the money made at dinner was used to get ingredients for the following day’s lunch, and the voucher given with the dinner brought people back to the market long after the intervention was over. Ridley’s was a self-sufficient restaurant, co-existing with the market, the traders and its neighbours.

    A line-up of local chefs created daily menus using market produce only. Diners sat at a communal table high above the market. Meals prepared in the ground floor kitchen, the hub of exchange and production, were raised by a mechanical table up to the guests above. This scenographic journey emphasised the vertical transformation of the raw food at market level to the cooked meals at the elevated podium above. The temporary summer installation was an opportunity to imagine an alternative socio-economic programme for the public realm.

    www.ridleys.org

    Key collaborators:
    Carpentry by Sam Trice 
    Identity and graphic design by Guglielmo Rossi 

    Thanks to the photographers: Dosfotos, Rachel Ferriman, Jessie Levene.


    Biography:

    The Decorators is an interdisciplinary design collective founded by Suzanne O’Connell, Carolina Caicedo, Xavi Llarch Font and Mariana Pestana in 2011. With backgrounds in landscape architecture, spatial design, curation and psychology, they work on spatial design projects and cultural programmes that aim to reconnect the physical elements of a place with its social dimension. The Decorators’ projects can be read as the testing of possible infrastructures for communal life, designing programmes and physical elements for a space that turns an individual into a collective. In particular they have produced tables, seating configurations and frameworks for collective eating. For The Decorators, the act of eating is a political act. Commensality – eating and drinking together – is a fundamental social activity, which creates and cements relationships, but which can also defy dominant power structures. 


    Practices:

    Ridley’s was open to the public for three weeks, with an intricate programme of events organised in collaboration with other people. The building of the structure of the restaurant was collaborative, with simple construction techniques requiring little construction knowledge. Inserted in a public space, Ridley’s was a critical spatial project because it critiqued standardized strategies for market renovation while imagining and enacting an alternative possibility. It put forward an exchange system that was hopeful of creating social change, performing non-monetary exchanges of goods and affect, while at the same time stimulating trade in an economically deprived context. 


    Keywords:
    Food, exchange, market, table, economy, programme

    References:

    Gordon Matta Clark  and Caroline Goodden, Food (1972).


    Other projects:
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  • Stori Mwd (A Story of Mud), (2019)
  • not nothing (August 2019)
  • Hungry Mothers, En La Frontera (2019 – present)
  • Exchanging Values at Bank (18 October 2019)
  • Cybiog: locating the digital self, (2019/20, 2 mins 45 secs)
  • Civic Pedagogy, learning as critical spatial practice (2019)
  • An environmental history of La Guajira (2019)
  • A Weird-Tender in progress (2019)
  • A walk in your words (25.01.2019)
  • Portal Zaryadye: A Portal Not Only to Heaven, But Aslo To Hell (24 July – 12 August 2018)
  • Text-isles: sowing an idea, October (2018)
  • Objects removed for study (2018)
  • Female Futures Lexicon on Space (2018/2019)
  • windwoundweatherwovenwirewoman [performance] (2017)
  • Viscous Myths (2017/2018)
  • The Pass (October 2017 – June 2018)
  • The House Alice Built (2017/2019)
  • Productive Withdrawals: Art Strikes, Art Worlds, and Art as a Practice of Freedom (December 2017)
  • Request for the unrequested voluntary interlinguisticality (2017)
  • Caring for Communities (2017 – 2019)
  • Bodies + Borders (2017 – present)
  • a place called … (Spring 2017)
  • Uppland (2016 – 18)
  • Music for Masterplanning (2016 – 17)
  • P | A | N – Proyecto Amasandería Nacional (2016)
  • Make Me Yours: How Art Seduces (2016)
  • In My Mothers’ Garden: Memories and practices of Greenham Common Women’s Peace Camp (2016)
  • Having not felt like eating, but eaten, I sat down to eat / tea … (2016)
  • Bamboo dialogues (2016)
  • Alternative Arrangements: Walking the Border in Ireland (2016 – ongoing)
  • Matter of the Manor (2015 – 19)
  • The First World Congress of the Missing Things (2014)
  • Private Choices, Public Spaces (2014)
  • Hanging Matters (2014)
  • Act#5 & Act#6: What does Mai Mai Mean? (March 2014 – December 2016)
  • A Game of Dominoes (2013)
  • Lina & Gio: the last humanists (February – June 2012)
  • Learning-through-Touring (2012)
  • Empty Words Build Empty Homes (2012)
  • Ridley’s (2011)
  • Hustadt project, 2008 – (2011)
  • Palimpsest Performances (2010 – 2014)
  • Negotiating Conflict: Bordering Practices in a Divided Beirut (2010 – 2014)
  • Expanded Architecture (2010 – 2014)
  • Unfixing Place: A Study of Istanbul through Topographical Practices (2008)
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