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other_histories
Time Traveller-Story Teller-Architect
Depicting speculative, alternative narratives from the other side of history
@gsa_unit24 Co-lead
@aht_at_the_gsa Acting Convenor
@heidi_lu17
Chronograms of Architecture Symposium
Date: Thursday, 4 June 2026
Time: 16:00 – 19:15 SAST
Venue: UJ FADA Auditorium
Session 1
16:00 - 17:30 Moderated by Nick Axel
Session 2
18:00 - 19:15 Presentation by Ilze Wolff
Exhibition opening/ Wine Bar: 19:15
RSVP: See Linktree
CPD CAT 1, 0.3
The symposium brings together past and present participants in the Chronograms of Architecture project and will be moderated by Nick Axel @alucidwake .
The first session will explore diagramming and mapping as tools for architectural research and pedagogy. Heidi Lu @other_histories, Acting Convenor of the Architectural History and Theory module, will present on diagramming as a pedagogical tool, followed by Simphiwe Mlambo @the_creative_unloced, who will discuss mapping as a methodology for student work.
Tatjana Schneider @tat_schneider from MOULD, alongside Bryony Roberts @bryony_roberts_studio and Abriannah Aiken @abri.aiken, will then reflect on their respective methodologies developed through previously commissioned chronograms for the exhibition.
The second session will open with an introduction to the project by Lily Jencks (@lilyjencksstudio), focusing on Charles Jencks’ diagrams of architecture. This will be followed by a presentation by Ilze Wolff on her newly commissioned chronogram for 2026, with MADEYOULOOK joining as respondents in conversation.
Chronograms of Architecture originated as a collaboration between the Jencks Foundation at The Cosmic House (@thecosmichouse ) and e-flux architecture (@e_flux)
#happeningatthegsa
#chronogramsofarchitecture
#symposium
Chronograms of Architecture Exhibition
Date: Thursday, 4 – 24 June 2026
Time: 19:15 – 21:00 SAST
Venue: UJ FADA Gallery, Auckland Park, JHB.
Exhibition opening/ Wine Bar: 19:15
RSVP: See Linktree
The Chronograms of Architecture Exhibition showcases diagrams by Charles Jencks, the renowned post-modern architecture writer and critic, spanning from 1920 to 2000, along with nine commissioned diagrams by contemporary architects, historians, and researchers. Previously exhibited in London and Brussels, it is being hosted in Johannesburg this year, ‘in conversation with’ the GSA; featuring student diagrams from the Architectural History and Theory module convened this year by Heidi Lu and developed through workshops with Lily Jencks.
Contributions by Pier Vittorio Aureli / Marson Korbi marsonkorbi , Mario Carpo @mario_carpo , Charles L. Davis II / Curry J. Hackett @curryhackett , Lionel Devlieger @lioneldevlieger / Michael Ghyoot / Adam Przywara / Karen Steukers / Arne Vande Capelle / Louise Vanhee @louise_vanhee , Maria Fedorchenko/ Yeliz Abdurahman, Francesca Hughes @francesca_hughes / Urtzi Grau @urtzigrau , MOULD @mould_earth , and Bryony Roberts @bryony_roberts_studio / Abriannah Aiken @abri.aiken, Ilze Wolff @ilzewolff and Ziko Petse @ziko.img together with Nathalie Frankowski and Cruz Garcia @waithinktak and @happeningatthegsa
The exhibition coincides with a symposium taking place at the FADA Auditorium ( June, 16:00 – 19:15)
Curated by Nick Axel @alucidwake , Nikolaus Hirsch, Lily Jencks @lilyjencksstudio , Heidi Lu @other_histories , Anya Smirnova @anya_smrnv, and Eszter Steierhoffer @esteierhoffer
Graphic design by Fred Swart @dieateljee
The exhibition is developed in collaboration with @e_flux Architecture, Jencks Foundation at The Cosmic House @thecosmichouse
#chronogramsofarchitecture
#thecosmichouse
#charlesjencks
#happeningatthegsa
#unitsystemafrica
I had the privilege of staying @thecosmichouse and it was a beautifully surreal experience ✨
I worked closely with the team, selecting archival material to be exhibited at the Chronograms of Architecture Exhibition taking place on the 4th of June 2026 at the FADA gallery in Johannesburg.
In between, I explored the details through symbols, motifs, metaphors and references. Built between 1978 and 1983, the Cosmic House is a key landmark in the development of Post-Modernist Architecture designed by Charles and Maggie Jencks in collaboration with Terry Farrell.
@happeningatthegsa
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured : The National Reserve of Reverence: Reintegrating Indigenous Architectural Typologies by Tintswalo Mathye (BHons) is concerned with the preservation and reintegration of indigenous knowledge systems in Angola
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured : The National Reserve of Reverence: Reintegrating Indigenous Architectural Typologies by Tintswalo Mathye (BHons) is concerned with the preservation and reintegration of indigenous knowledge systems in Angola
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: Xhesasekise Manaba (Hons) interested in the body as a commodity during the Trans-Atlantic slave trade and the ways in which the body holds memory.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: Xhesasekise Manaba (Hons) interested in the body as a commodity during the Trans-Atlantic slave trade and the ways in which the body holds memory.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Religious Syncretism by Okuhle Ngcakani (BHons)formulates spatial strategies for the middle space between Catholicism and Indigenous spiritual beliefs and practices as a result of the introduction of Catholicism to the Kingdom of Kongo in Angola by Portuguese colonizers.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Religious Syncretism by Okuhle Ngcakani (BHons)formulates spatial strategies for the middle space between Catholicism and Indigenous spiritual beliefs and practices as a result of the introduction of Catholicism to the Kingdom of Kongo in Angola by Portuguese colonizers.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Identity by Ricardo Cabinda (BHons) documents the acquisition of citizenship and reimagines ports of entry for displaced persons.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Identity by Ricardo Cabinda (BHons) documents the acquisition of citizenship and reimagines ports of entry for displaced persons.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Indigenous Institutions: The People’s Republic of Angola by Dakalo Mushaathama (BHons).
Dakalo is interested in the political Identity of present-day Angola due to Portuguese Colonialism. The architectural proposition challenges the notion of a ‘pure’ African identity and cultural practice within political spaces and speculates an alternate form of Angola’s National Assembly.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage
Featured: The National Reserve of Indigenous Institutions: The People’s Republic of Angola by Dakalo Mushaathama (BHons).
Dakalo is interested in the political Identity of present-day Angola due to Portuguese Colonialism. The architectural proposition challenges the notion of a ‘pure’ African identity and cultural practice within political spaces and speculates an alternate form of Angola’s National Assembly.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage.
Featured: Amy Ndung’u’s (BHons) project, titled ‘The National Reserve of Liberation’ explores the dilution of culture and displacement of Indigenous Angolans due to Portuguese colonization. The project aims to address how people re-identify with the space again and how to reoccupy a stolen homeland.Where for one side, hybridity entails a loss and, for the other side, a history of conquest as described by Lisa Åkesson. Working with resistance music, dance, and legislation, Amy reimagines the Angolan carnival as a space for reclamation and reoccupation.
Cartas de Angola | Letters from Angola
Unit 24’s 2024, Summer Show Exhibition at the GSA was titled ‘ Letters from Angola‘ as a response to the film Cartas para Angola | Letters to Angola (2012) directed by Julio Matos & Coraci Ruiz which explores the relationship of people across the Atlantic Ocean in Brazil, Portugal and Angola and the histories they share. The exhibition entailed several messages to a series of host-lands from Angola, the homeland.
The project for the year titled ‘National Reserve’ developed a series of speculative pasts by the students of the unit with the intention to conserve or preserve an ‘endangered’ heritage.
Featured: Amy Ndung’u’s (BHons) project, titled ‘The National Reserve of Liberation’ explores the dilution of culture and displacement of Indigenous Angolans due to Portuguese colonization. The project aims to address how people re-identify with the space again and how to reoccupy a stolen homeland.Where for one side, hybridity entails a loss and, for the other side, a history of conquest as described by Lisa Åkesson. Working with resistance music, dance, and legislation, Amy reimagines the Angolan carnival as a space for reclamation and reoccupation.
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