An homage to the Fun Palace; the cult project by architect Cedric Price and theatre director Joan Littlewood that back in the 60’s wanted to realize a university of the street, a laboratory of fun. Little Fun Palace is a parasite project, presented together with OHT’s shows or without them, is an ever-changing place for encounters, talks, balls, gigs and any other form of possible spontaneity. This is a project focusing on the moment right after the cultural activity; the moment in which ideas, words and people’s encounters require space to happen. Little Fun Palace tackles a contemporary void exhuming the raison d'être of public areas; that one of being an open forum for spontaneous encounters. Little Fun Palace brings together artists, philosophers, economists, scientists, engineers, musicians, architects, sociologists, writers, meteorologists, and so on that will dialogue on urgent and appropriate themes outlined by an Advisory Team and the institution guesting the the project. Little Fun Palace explores every aspects of realty in its diverse areas and shapes. This is a seriously spontaneous survey releasing intelligence from any cirrus of intellectualism.

Designed as a flexible framework into which programmable spaces can be plugged, the structure has as its ultimate goal the possibility of change at the behest of its users. Price belonged to a generation of British architects and educators who used architecture both to address the future and as the ultimate social art. Price's personal vision of the city was inventive and playful and expressed his sense of architecture’s moral obligations toward its users. Cedric Price came on to the British architectural scene in the late 1950s, a time in which housing complexes, schools, industrial parks and new towns were springing up all over Britain. There was an overriding belief in a socially responsibly architecture and general feeling of optimism about the future and architecture's capacity to improve the environment. Price, however, was determined that his work would not impose physical or psychological constraints upon its occupants nor reduce them to standards, as did modernist architecture. Through the pairing of humour and playfulness with complete conviction, Price's projects all attest to his belief in an architecture that provides inhabitants as well as viewers individual freedoms.