A man stands with his hands locked behind his back, the universal posture of deep disappointment, as he studies the metal-sheet wall in front of him, a structure clearly assembled with more optimism than precision. Across the city, recent demolitions are hidden behind tall panels of corrugated metal sheets, lined up side by side and freshly painted in loud blues or greys. The colours seem deliberate: a bright signal to the public that the chaos behind the barrier is, supposedly, the start of something new.
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