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Collective Curriculum is an evolving, open-source archive of pedagogical exercises that respond to the climate crisis through creative practice. These exercises are presented as graphic posters that communicate actionable and participatory ways to engage with ecological thinking and care. Currently in its second iteration, the project features contributions from designers, artists and teachers from Australia and around the world.
Curators: @oliviavanessahamilton & @materialfields
Melbourne Design Week 2026 @ngvmelbourne
Opening: Thursday 21st May 6-8pm
Friday 22nd 11-3pm
Saturday 23rd 11-3pm
Workshop: Mapping Home: Ecologies of Care, Sandra Githinji, 10.30-12.30pm
BUILT ENVIRONMENT Vol. 2
A gathering of books, art, and talks.
Friday, 29th May (Opening + Book Launch): 6:00 pm – 9:00 pm
Saturday, 30th May (Book Fair & Talks): 10:00 am – 5:00 pm
Expanding upon last year’s event, BUILT ENVIRONMENT Vol. 2 returns to celebrate a diverse range of practices that engage with our surroundings through multidisciplinary approaches.
Curated by @thresholdprojects in collaboration with @___office , the event brings together a curated group of publishers, graphic designers, architects, landscape architects, and artists. Each contributor was invited to present work that explores, references, or responds to the spaces we inhabit, both constructed and natural, expressed through text, printed matter, and books.
Running alongside the book fair is a series of curated panel discussions. These sessions will track the typical progression of a project: from conceptualisation and production to the printing and distribution of work across various mediums.
Come down buy some books, hear from interesting people and support independent makers. @threefivefivethree
Panel Discussion Saturday 30th May
Panel 1 – CONCEPTUALISING + DEVELOPING (11am – 11:45am)
Adam Cruickshank @adammcruickshank Paul Mylecharane @p_mylecharane Kate Finning @kfarchitect
Panel 2 – PRODUCTION + PRINTING (1pm – 1:45pm)
Bridget Chappell @hextape.wav Uriah Gray @u____p Zenobia Ahmed @zenobiaahmed
Panel 3 – DISSEMINATING + DISTRIBUTION (3pm – 3:45pm)
Odessa Mykytowycz @fiendbookshop Mat Ward @bookshop_by_uro Adrian Hardingham @booksatmanic
Flyer design by @jhneumann
BUILT ENVIRONMENT Vol. 2
A gathering of books, art, and talks.
Friday, 29th May (Opening + Book Launch): 6:00 pm – 9:00 pm
Saturday, 30th May (Book Fair & Talks): 10:00 am – 5:00 pm
Expanding upon last year’s event, BUILT ENVIRONMENT Vol. 2 returns to celebrate a diverse range of practices that engage with our surroundings through multidisciplinary approaches.
Curated by @thresholdprojects in collaboration with @___office , the event brings together a curated group of publishers, graphic designers, architects, landscape architects, and artists. Each contributor was invited to present work that explores, references, or responds to the spaces we inhabit, both constructed and natural, expressed through text, printed matter, and books.
Running alongside the book fair is a series of curated panel discussions. These sessions will track the typical progression of a project: from conceptualisation and production to the printing and distribution of work across various mediums.
Come down buy some books, hear from interesting people and support independent makers. @threefivefivethree
Panel Discussion Saturday 30th May
Panel 1 – CONCEPTUALISING + DEVELOPING (11am – 11:45am)
Adam Cruickshank @adammcruickshank Paul Mylecharane @p_mylecharane Kate Finning @kfarchitect
Panel 2 – PRODUCTION + PRINTING (1pm – 1:45pm)
Bridget Chappell @hextape.wav Uriah Gray @u____p Zenobia Ahmed @zenobiaahmed
Panel 3 – DISSEMINATING + DISTRIBUTION (3pm – 3:45pm)
Odessa Mykytowycz @fiendbookshop Mat Ward @bookshop_by_uro Adrian Hardingham @booksatmanic
Flyer design by @jhneumann
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
Sample Size by @__doworks explored the economy, circulation, and lifespan of materials, with a particular focus on architectural samples and objects of everyday use.
The exhibition considered how these fragments can be reimagined through acts of collecting, repurposing, and assembly. By using objects as case studies, the project highlights the entangled systems—economic, cultural, and material—that shape how resources move through and shape our built environments. Together, the participating practitioners open a dialogue about reuse, demonstrating how free and often overlooked, disregarded materials hold latent value and potential. In presenting the objects as both practical and poetic, the project seeks to propose alternative systems of knowledge and design thinking, foregrounding how reuse can generate new cultural and material futures.
Presenting new work by:
Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH
📸 @zacharyjmcpherson
We are seeking submissions from students, graduates, and early career architects and designers working on projects that foreground material-led adaptive reuse at the scale of both the component and the whole building.
Projects may be speculative, unbuilt, or realised. Submissions should demonstrate approaches to documenting, understanding, and enabling reuse practices. This may include the use of digital technologies, material inventories, passports, or other methods that make existing materials visible and usable within design processes.
This exhibition aims to highlight the architectural processes, tools, and methods required to enable reuse. We are particularly interested in work that makes these processes explicit and contributes to knowledge sharing and collective learning around material reuse in practice.
The exhibition will include contributions from a range of practitioners, to establish a dialogue between practices, academics and emergent voices.
The exhibition will be held at 3553 in Collingwood in August.
Submission Requirements
- 200-word critical project statement
- Sample project drawings and images
- Short CV
- Maximum 4 x A4 pages (PDF, under 20MB)
Submissions are due by 11:59pm, 20 May. Please email submissions and any questions to hello@sens-sens.com
#opencall #callforsubmissions
Ten Eighty by @matt.dunne + @tallpoppypress
Since the arrival of white people, the Dingo has been one of the most persecuted animals in Australia - the target of shooting, trapping, poisoning, myth-making and scorn.
In Ten Eighty, Matt Dunne acts as a witness to the ongoing colonial war against the Dingo - an animal that is simultaneously protected and legally destroyed en masse in Australia. The exhibition challenges audiences to ask why we still treat some native wildlife as “pests” to be destroyed rather than vital parts of our ecosystem. The exhibition focuses on the animal, the tools of its destruction and what thrives because of the killing: feral animals, unsustainable farming and a sense of emptiness.
To this day, governments in Australia seek to eradicate the animal completely, whether by sanctioning shooting, enabling trapping or paying for widespread poisoning campaigns using 1080 - a poison so indiscriminate, toxic and painful it is banned in nearly every country that is not Australia. Multiple governments continue to pay for the construction of fencing to keep Dingoes away from sheep, leading to Australia having the longest fence in the world - over 5,500km - a fence so vast it is longer than the distance from Perth to Sydney. An ecological barrier so pervasive differences in landscape caused by the fence can be seen from satellite.
At the core of this exhibition is the animal - a canine trying to do what it’s always done: explore and find a meal.
Even link in bio
Ten Eighty by @matt.dunne + @tallpoppypress
Since the arrival of white people, the Dingo has been one of the most persecuted animals in Australia - the target of shooting, trapping, poisoning, myth-making and scorn.
In Ten Eighty, Matt Dunne acts as a witness to the ongoing colonial war against the Dingo - an animal that is simultaneously protected and legally destroyed en masse in Australia. The exhibition challenges audiences to ask why we still treat some native wildlife as “pests” to be destroyed rather than vital parts of our ecosystem. The exhibition focuses on the animal, the tools of its destruction and what thrives because of the killing: feral animals, unsustainable farming and a sense of emptiness.
To this day, governments in Australia seek to eradicate the animal completely, whether by sanctioning shooting, enabling trapping or paying for widespread poisoning campaigns using 1080 - a poison so indiscriminate, toxic and painful it is banned in nearly every country that is not Australia. Multiple governments continue to pay for the construction of fencing to keep Dingoes away from sheep, leading to Australia having the longest fence in the world - over 5,500km - a fence so vast it is longer than the distance from Perth to Sydney. An ecological barrier so pervasive differences in landscape caused by the fence can be seen from satellite.
At the core of this exhibition is the animal - a canine trying to do what it’s always done: explore and find a meal.
Even link in bio
Join us for the launch of aqua nullius, a publication that dismantles the colonial myth of “nobody’s waters” by centring the voices of First Nations people.
Opening Friday 10 April 6-9pm
Floor Talk Saturday 11 April 3pm
This book focuses on the concept of aqua nullius, the attempted application of the falsehood of terra nullius to water. It highlights the voices of First Nations people interviewed from across Australia about their cultural relationships to water.
“This book is a body of water. In these pages lies a collection of words, printed on to paper, pooling together here like the confluence of a river. Each stream of vibration carrying meaning, from thoughts, to sounds, to shapes, arriving through their respective Country and the bodies, hearts, blood and mind of each custodian. Each speaker has held this knowledge in relationship to kin and community for thousands and thousands of years in an unbroken stream.” Jack Mitchell (editor)
This is a publication of over 20 interviews structured around four key themes: storytelling, water injustice, First Nations water management, and overturning aqua nullius.
Contributors include; Alex Bond, Colleen Raven Strangways, Dave Wandin, David Collard, Erin O’Donnell, Hozaus Claire, Jack Mitchell, Jim Everett, Joseph Williams Jungarayi, Josie Douglas, Kazan Brown, Maureen O’Keefe, Melissa Kennedy, Norman Frank Jupurrurla, Oliver Costello, Sophia Pearce, Sue Jackson, Tony Birch, Troy McDonald, Noel Nannup, Virginia Marshall.
The exhibition, curated by @___office , @u____p , and @samsonossedryver_studio , brings the book’s themes to life through paintings, poetry, film, and artifacts that further explore First Nations’ deep connections to fresh water.
Event details in bio
Writing Space
Opening Friday 13 March 6-9pm
Writing Space was a summer creative writing workshop series at (and around) 3553, hosted by writer and researcher Ange Crawford. The series invited writers, designers, artists, and participants to explore spatial writing—using text to engage with non-places, liminal zones, and other in-between spaces. Through discussions and exercises, participants investigated how writing can act as a tool of resistance and attentiveness to our surroundings.
The resulting works, dispersed around the gallery, move beyond traditional formats, drawing on Ursula K. Le Guin’s carrier bag theory of fiction. Each piece responds to the gallery, nearby urban environment, and shared moments of reading and writing, creating interconnected reflections on place, context, and the relationships between text, space, and community.
Event link in bio
@archigram_melbourne are excited to announce the launch of their fourth physical magazine!
Join us at 3553 to celebrate the hard work of the contributors and pick up a copy of the publication.
📅 Friday 6 March, 6pm - 9pm
📍 3553, 35-53 Emma St, Collingwood
Fire, Water, Building
Opening Friday 20.02 from 6pm onwards.
How to build with fire and water in a time of risk aversion?
“Fire, Water, Building” reimagines architecture’s relationship with nature, shifting from risk aversion toward a more deliberate engagement with these elemental forces. Set against the backdrop of recent environmental crises—bushfires, building fires, and floods—the exhibition examines safety-driven design paradigms and the regulatory logics that shape contemporary practice. In their place, it calls for a more nuanced, historically informed, and ecologically attuned understanding of how humans inhabit shifting environments.
Bringing together 13 practices working creatively with fire and water, the exhibition assembles projects, research, and speculative works that propose alternative ways of building, caring, and living with risk, where Fire and Water aim to be understood, negotiated, and designed with.
Contributors: @alankim.xyz @architectureassociates @watersarchitects @architect_brewkoch @avavavavava @collectiveterritories @heliotope_studio @sblastudio @ssdh.studio @mic_mahn @melbartlibrary @nmbw_architecture_studio @sibling_architecture @simulaa_
The exhibition also features work by RMIT Architecture students, alongside an extended literary library on fire and water curated by Melbourne Art Library.
With thanks to RMIT School of Architecture & Urban Design for their support.
Curators: @24nuggets @allanburrows
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Field of Limbs by @ninanervegna & @un___furl investigates how architecture might care for non-human life in Fishermans Bend. It proposes a network of modular prostheses—attached to urban infrastructure—that perform ecosystemic functions and attract bees, bats, birds, and butterflies. This elevated pollination system is imagined in collaboration with CitiPower, councils, ecologists, and community members. Drawing on design research across fieldwork, cartography, modelmaking, critical writing, geopoetry, and sound, the project contributes to more-than-human urbanism and non-anthropocentric architectural ethics. At 3553, these ideas were spatialised through a field of objects suspended from the gallery’s ceiling and fastened to its pipework: models, drawings, planted orbs, and a looped soundscape. It is not a show of solutions, but of situated propositions—machines for attunement, offered in a mood of quiet care.
Land Use Inequality, curated by @baraccowrightarchitects , was an exhibition prompted by the research for the national participation at the 24th Milan Triennale, 2025 Australia: Land Use Inequality by Monash Urban Lab.
It gathers a range of current documentation of land use practices and forces in Melbourne creating ecological, spatial and social inequality. Now Australia’s most populous city, Melbourne spreads over 10,000 km2 and continues to demolish buildings, privatise public land and expand on its fringes into agricultural, ecological and culturally sensitive land.
Exhibited work included:
Monash Urban Lab: Australia: Land Use Inequality, 24th International Milan Triennale 2025
Baracco+Wright Architects with Monash Architecture: Reuse: Documentation of Vacant Buildings in Melbourne
Monash Urban Lab: Demolition of 1075 Houses and 3075 Trees
OFFICE with RMIT Centre for Urban Research: Retain, Repair, Reinvest
OFFICE with Melbourne School of Design and Regen Melbourne: Connected Corridors
@monashurbanlab
@monasharchitecture
@baraccowrightarchitects
@festurbanism
@___office
@retain_repair_reinvest
@threefivefivethree
@msdsocial
@regenmelbourne
@monashada
📸 @yaseera.jpg @therese.brl
Land Use Inequality, curated by @baraccowrightarchitects , was an exhibition prompted by the research for the national participation at the 24th Milan Triennale, 2025 Australia: Land Use Inequality by Monash Urban Lab.
It gathers a range of current documentation of land use practices and forces in Melbourne creating ecological, spatial and social inequality. Now Australia’s most populous city, Melbourne spreads over 10,000 km2 and continues to demolish buildings, privatise public land and expand on its fringes into agricultural, ecological and culturally sensitive land.
Exhibited work included:
Monash Urban Lab: Australia: Land Use Inequality, 24th International Milan Triennale 2025
Baracco+Wright Architects with Monash Architecture: Reuse: Documentation of Vacant Buildings in Melbourne
Monash Urban Lab: Demolition of 1075 Houses and 3075 Trees
OFFICE with RMIT Centre for Urban Research: Retain, Repair, Reinvest
OFFICE with Melbourne School of Design and Regen Melbourne: Connected Corridors
@monashurbanlab
@monasharchitecture
@baraccowrightarchitects
@festurbanism
@___office
@retain_repair_reinvest
@threefivefivethree
@msdsocial
@regenmelbourne
@monashada
📸 @yaseera.jpg @therese.brl
Land Use Inequality, curated by @baraccowrightarchitects , was an exhibition prompted by the research for the national participation at the 24th Milan Triennale, 2025 Australia: Land Use Inequality by Monash Urban Lab.
It gathers a range of current documentation of land use practices and forces in Melbourne creating ecological, spatial and social inequality. Now Australia’s most populous city, Melbourne spreads over 10,000 km2 and continues to demolish buildings, privatise public land and expand on its fringes into agricultural, ecological and culturally sensitive land.
Exhibited work included:
Monash Urban Lab: Australia: Land Use Inequality, 24th International Milan Triennale 2025
Baracco+Wright Architects with Monash Architecture: Reuse: Documentation of Vacant Buildings in Melbourne
Monash Urban Lab: Demolition of 1075 Houses and 3075 Trees
OFFICE with RMIT Centre for Urban Research: Retain, Repair, Reinvest
OFFICE with Melbourne School of Design and Regen Melbourne: Connected Corridors
@monashurbanlab
@monasharchitecture
@baraccowrightarchitects
@festurbanism
@___office
@retain_repair_reinvest
@threefivefivethree
@msdsocial
@regenmelbourne
@monashada
📸 @yaseera.jpg @therese.brl
Land Use Inequality, curated by @baraccowrightarchitects , was an exhibition prompted by the research for the national participation at the 24th Milan Triennale, 2025 Australia: Land Use Inequality by Monash Urban Lab.
It gathers a range of current documentation of land use practices and forces in Melbourne creating ecological, spatial and social inequality. Now Australia’s most populous city, Melbourne spreads over 10,000 km2 and continues to demolish buildings, privatise public land and expand on its fringes into agricultural, ecological and culturally sensitive land.
Exhibited work included:
Monash Urban Lab: Australia: Land Use Inequality, 24th International Milan Triennale 2025
Baracco+Wright Architects with Monash Architecture: Reuse: Documentation of Vacant Buildings in Melbourne
Monash Urban Lab: Demolition of 1075 Houses and 3075 Trees
OFFICE with RMIT Centre for Urban Research: Retain, Repair, Reinvest
OFFICE with Melbourne School of Design and Regen Melbourne: Connected Corridors
@monashurbanlab
@monasharchitecture
@baraccowrightarchitects
@festurbanism
@___office
@retain_repair_reinvest
@threefivefivethree
@msdsocial
@regenmelbourne
@monashada
📸 @yaseera.jpg @therese.brl
Land Use Inequality, curated by @baraccowrightarchitects , was an exhibition prompted by the research for the national participation at the 24th Milan Triennale, 2025 Australia: Land Use Inequality by Monash Urban Lab.
It gathers a range of current documentation of land use practices and forces in Melbourne creating ecological, spatial and social inequality. Now Australia’s most populous city, Melbourne spreads over 10,000 km2 and continues to demolish buildings, privatise public land and expand on its fringes into agricultural, ecological and culturally sensitive land.
Exhibited work included:
Monash Urban Lab: Australia: Land Use Inequality, 24th International Milan Triennale 2025
Baracco+Wright Architects with Monash Architecture: Reuse: Documentation of Vacant Buildings in Melbourne
Monash Urban Lab: Demolition of 1075 Houses and 3075 Trees
OFFICE with RMIT Centre for Urban Research: Retain, Repair, Reinvest
OFFICE with Melbourne School of Design and Regen Melbourne: Connected Corridors
@monashurbanlab
@monasharchitecture
@baraccowrightarchitects
@festurbanism
@___office
@retain_repair_reinvest
@threefivefivethree
@msdsocial
@regenmelbourne
@monashada
📸 @yaseera.jpg @therese.brl
스토리 세이브 - 스토리, 릴스, 사진, 비디오, 하이라이트, IGTV를 핸드폰에 저장할 수 있는 최고의 무료 도구.
스토리-세이브.com은 사용자들이 인스타그램에서 스토리, 사진, 비디오, IGTV 등을 직접 다운로드하고 저장할 수 있게 도와주는 직관적인 온라인 도구입니다. Story-Save를 사용하면 인스타그램에서 다양한 콘텐츠를 쉽게 다운로드하고 인터넷 없이도 편리하게 볼 수 있습니다. 인스타그램에서 흥미로운 내용을 발견하고 나중에 보기 위해 저장하고 싶을 때 이 도구가 완벽합니다. Story-Save를 사용하여 인스타그램의 소중한 순간을 놓치지 마세요!
우리의 장점:
회원가입 불필요
앱 다운로드 및 가입 없이, 웹에서 스토리를 저장하세요.
독점적인 고화질
저화질 콘텐츠는 이제 그만, 고해상도 스토리만 보존하세요.
모든 장치에서 접근 가능
모든 브라우저, 아이폰, 안드로이드에서 인스타그램 스토리를 다운로드하세요.
완전 무료 사용
전혀 비용 없이 스토리를 다운로드할 수 있습니다.
자주 묻는 질문
- 1. 인스타그램 스토리 다운로드 도구에 접속하세요.
- 2. 인스타그램 프로필의 사용자명을 제공된 필드에 입력하고 다운로드 버튼을 클릭하세요.
- 3. 현재 24시간 동안 사용 가능한 모든 스토리가 표시됩니다. 원하는 스토리를 선택하고 다운로드하세요.