Here is a folly, playfully approached as a historic object set within the confines of the park; a faux ruin to future urban archeologists, operating as a memory of the apparent virtues of its time, and thereby having a cachet bestowed upon it if nothing more than an ornamental object of contemplation.

In a sense, OLIO presents itself as a condensation of the fictional reality surrounding the confines of the park—a hyper-pastiche that is continually renewed with each wave of histories and narratives welcomed within its quarters. And yet a split personality exists within thisurban body, a pragmatic dualism that has given rise to a distinctly recognizable sense of place.