The situation where Wagner Garcia develops his project is the only one, in the region framed by Arte/Cidade, to present evident effects of the most recent urban space reconfiguration processes. Here residential condominiums, shopping centers and large surfaces had been created, tending to constitute relatively autonomous urban units, directly related to other metropolitan areas and detached from the traditional immediate environment.

The sprouting of these equipment and enclaves establishes a new scale, metropolitan, in this area. While the previous occupation had an essentially local dimension, these new islands establish, in the daily people experience - of living, working and consuming - new spatial relations, much more expanded.

A new mapping becomes necessary when the area urban configuration is completely redimensioned, changing the neighborhood relations between the places. The old sense of distance doesn’t have any more validity. This is the real seismic shake that Wagner Garcia tries to capture, offering at the same time another device to map the configuration of this moving territory, invisible at our experience and perception scale.

The proposal consists in mapping the area subsoil, a way to trace the contours of a terrain so broken up and disrupted on the surface. Two pile drivers will be installed in the extremities of an immense metallic platform - a true urban meter - existing in front of the abandoned building structure at av. Salim Farah. Sensors will locate to the long of the distance that separates the structure from SESC Belenzinho. In accordance with the soil resistance, evidence of the presence of foundations, plumbing and other implantations, the sensors will emit different signs, picked-up at SESC to make a mapping of this invisible configuration.

Inside one of the SESC sheds it will be opened a ditch of about 19 x 6 m, with 2.5 depth m. The public will be able to go down inside this crack, where the pile drivers sound is heard and a video registering the action is projected.

Territory is an operation of landmark of distances. But the critical distance it is not a measure, is a rhythm. Another schema is announced here: in network. Not a form or a structure, but an articulation. A fluid ensemble, without linear evolution, but densifications, intensifications and intercalations. Intervals, distributions of inequalities and voids. Overlapping of distinct rhythms, without any imposition of measure.

This is the way smooth space infiltrates the polis, the grooved space. It is about distributing itself through the space, taking the space, keeping the possibility to appear at any point. The movement doesn’t go anymore from a point to another, but it is perpetual, without origin or destination.

It is the hydraulic model of Serres: space with no limits where streams distribute themselves. The figures are considered in function of the affectations that occur to them, events, accidents that determine them. The State subordinates the hydraulic force with conductors, channels. The hydraulic model expands itself through turbulence, a movement that takes the space simultaneously through all points, instead the local movement that goes from a point to another. The effect can appear from any point.

The smooth space, says Deleuze, is a milieu without horizon, as the desert or the sea. Intermediate distance, perspective or contours don’t exist. Tactile space, more sonorous than visual. Located, but not delimited. Absolute local, against the relative global of the grooved space, where the parts articulate an ensemble.

Here the number is not subordinated to metric determination or geometric dimensions: it is a dynamic relation with geographic directions. Directional, not dimensional or metric. The matter-movement, in flux, that enters the process is desestratificated. Imprecise substances, anexacts, distinct from the fixed, metric and formal ones. They constitute fluid ensembles. As the multidirectional underground signs device created by Wagner Garcia: they extended themselves in all directions, ignoring the canalizations, foundations, train tracks and expressways that line up and cut the area.

Here the example of metallurgy: the energetic materiality overflows substance and form. A continuous development that surpasses the succession of forms. A continuous variation of form. The craftsman of forges, the subsoil man, which inhabits the space as a hole, is the one that follows a substance stream. As does the itinerant, the ambulant.