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Polytechnic
Graphic design for culture and the built environment
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #architecture #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Common Treasures Vol. 2
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Instagram Stories geheim ansehen
Der Instagram Story Viewer ist ein einfaches Tool, mit dem Sie Instagram Stories, Videos, Fotos oder IGTV heimlich ansehen und speichern können. Mit diesem Service können Sie Inhalte herunterladen und offline genießen, wann immer Sie möchten. Wenn Sie etwas Interessantes auf Instagram finden, das Sie später überprüfen möchten, oder Stories anonym ansehen möchten, ist unser Viewer ideal für Sie. Anonstories bietet eine ausgezeichnete Lösung, um Ihre Identität zu schützen. Instagram hat die Stories-Funktion erstmals im August 2023 eingeführt, die schnell auch von anderen Plattformen übernommen wurde, dank ihres fesselnden, zeitlich begrenzten Formats. Stories ermöglichen es Nutzern, schnelle Updates zu teilen, sei es Fotos, Videos oder Selfies, ergänzt durch Text, Emojis oder Filter, und sind nur 24 Stunden lang sichtbar. Dieser begrenzte Zeitrahmen sorgt für eine hohe Interaktion im Vergleich zu regulären Posts. Heutzutage sind Stories eine der beliebtesten Methoden, um sich in sozialen Medien zu verbinden und zu kommunizieren. Wenn Sie jedoch eine Story ansehen, kann der Ersteller Ihren Namen in seiner Viewer-Liste sehen, was ein Problem für die Privatsphäre sein kann. Was ist, wenn Sie Stories durchsuchen möchten, ohne bemerkt zu werden? Hier wird Anonstories nützlich. Es ermöglicht Ihnen, öffentliche Instagram-Inhalte anzusehen, ohne Ihre Identität preiszugeben. Geben Sie einfach den Benutzernamen des Profils ein, das Sie interessiert, und das Tool zeigt dessen neueste Stories an. Funktionen des Anonstories Viewers: - Anonymes Browsen: Sehen Sie Stories, ohne in der Viewer-Liste zu erscheinen. - Kein Konto erforderlich: Sehen Sie öffentliche Inhalte, ohne ein Instagram-Konto zu erstellen. - Inhalte herunterladen: Speichern Sie beliebige Story-Inhalte direkt auf Ihrem Gerät für die Offline-Nutzung. - Highlights anzeigen: Greifen Sie auf Instagram-Highlights zu, auch über das 24-Stunden-Fenster hinaus. - Repost-Überwachung: Verfolgen Sie Reposts oder Interaktionen bei Stories für persönliche Profile. Einschränkungen: - Dieses Tool funktioniert nur mit öffentlichen Accounts; private Accounts bleiben unzugänglich. Vorteile: - Datenschutzfreundlich: Sehen Sie sich beliebige Instagram-Inhalte an, ohne bemerkt zu werden. - Einfach und unkompliziert: Keine App-Installation oder Registrierung erforderlich. - Exklusive Tools: Laden Sie Inhalte herunter und verwalten Sie sie auf eine Weise, die Instagram nicht bietet.
Vorteile von Anonstories
IG Stories privat entdecken
Behalten Sie Instagram-Updates diskret im Blick, schützen Sie Ihre Privatsphäre und bleiben Sie anonym.
Privater Instagram Viewer
Sehen Sie Profile und Fotos anonym an, ganz einfach mit dem Private Profile Viewer.
Kostenloser Story Viewer
Dieses kostenlose Tool ermöglicht es Ihnen, Instagram Stories anonym anzusehen und dabei Ihre Aktivität vor dem Story-Ersteller zu verbergen.
Häufig gestellte Fragen
Anonymität
Anonstories ermöglicht es Nutzern, Instagram-Stories anzusehen, ohne den Ersteller zu benachrichtigen.
Gerätekompatibilität
Funktioniert nahtlos auf iOS, Android, Windows, macOS und modernen Browsern wie Chrome und Safari.
Sicherheit und Datenschutz
Priorisiert sicheres, anonymes Browsen, ohne Login-Daten zu benötigen.
Keine Registrierung
Nutzer können öffentliche Stories ansehen, indem sie einfach einen Benutzernamen eingeben – kein Konto erforderlich.
Unterstützte Formate
Lädt Fotos (JPEG) und Videos (MP4) mühelos herunter.
Kosten
Der Dienst ist kostenlos nutzbar.
Private Accounts
Inhalte von privaten Accounts sind nur für Follower zugänglich.
Dateiverwendung
Dateien sind nur für persönliche oder Bildungszwecke und müssen Urheberrechtsregeln entsprechen.
Wie es funktioniert
Geben Sie einen öffentlichen Benutzernamen ein, um Stories anzusehen oder herunterzuladen. Der Dienst generiert direkte Links, um Inhalte lokal zu speichern.