인스타그램 스토리 저장
무료 인스타그램 스토리, 릴스, 사진, 비디오, 하이라이트, IGTV 온라인 저장
simulaa_
Simulaa
Architecture office based in Naarm
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Architekturwoche Basel, competition, 2024. A series of interventions to a multi-story car park and district basin in Dreispitz.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
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