A reset. Full. The Dhub, the Disseny Hub Barcelona, restarts. Just as the Plaza de las Glòries that it presides over is in the final stretch of its transformation towards the Forest of Glòries, and towards being the great heart of Barcelona that Ildefons Cerdà designed, this center dedicated to design is reinventing itself. And the public presentation of his new spirit started yesterday with a marathon in which even the tip of a nuclear missile appeared. A great festive meeting of the city's creative communities to which from now on the institution that José Luis de Vicente has directed for a few months wants to appeal. And intertwine.
The Dhub Marathon, which lasted 10 hours, was the start of the new trajectory, with 30 figures from graphic design, technology, architecture, interior design, activism or artificial intelligence who carried an object that spoke of their work and that It would allow them to talk about the world today and form with all of them, says De Vicente, “a kind of cabinet of curiosities, a wunderkammer, that indecipherable artifact that is encyclopedic but not linear, without beginning and end.”
Thirty figures in which were combined, notes the director, “people who in the last 25 years have left an enormous mark on how we see things, such as Martí Guixé, Antoni Arola or Curro Claret, with people who we now call expats or digital nomads, new Barcelonans who work and live with one foot in Barcelona and the other in New York or Dubai, and young people like TAKK or MAIO, who, being from here, also work especially in the international sphere.”
A wunderkammer to which Smriti Keshari, one of Barcelona's new s, author of a documentary on nuclear proliferation, brought the tip of a missile. Architect Olga Subirós brought air quality filters that show the level of pollution from traffic and Saharan intrusion, which represents climate change and that the desert is increasingly closer. The architect Guillermo Santomà gave his lecture from the position of a bird wearing a bird costume. Fernando Cuccietti, from the Barcelona Supercomputing Center, brought part of a model of Barcelona that they use to project data on it. And Maria Arnal built an instrument from the 19th century, the eidophone, which when singing generates a powder form that shows the imprint of the voice.
