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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ストーリーを秘密で見る
Instagramストーリービューアは、Instagramストーリー、動画、写真、またはIGTVを秘密に見たり保存したりできる簡単なツールです。このサービスを使用すると、コンテンツをダウンロードして、いつでもオフラインで楽しむことができます。Instagramで後でチェックしたいものを見つけた場合や、匿名でストーリーを見たい場合、このビューアは最適です。Anonstoriesは、あなたの身元を隠すための優れたソリューションを提供します。Instagramは2023年8月にストーリー機能を導入し、すぐに他のプラットフォームでも採用されました。このフォーマットは魅力的で、時間に敏感なため、ユーザーが写真、動画、または自撮りをテキスト、絵文字、またはフィルターで強化して、24時間限定で公開することができます。この限られた時間枠は、通常の投稿に比べて高いエンゲージメントを生み出します。今日の世界では、ストーリーはソーシャルメディアでつながり、コミュニケーションをとる最も人気のある方法の1つです。しかし、ストーリーを視聴すると、作成者は自分の名前を視聴者リストに見ることができ、プライバシーの懸念があります。もしストーリーを目立たずに閲覧したい場合、ここでAnonstoriesが役立ちます。これを使うことで、自分の身元を明かさずにInstagramのコンテンツを視聴できます。単に調べたいプロファイルのユーザー名を入力すると、その人の最新のストーリーが表示されます。Anonstoriesビューアの特徴：- 匿名閲覧：視聴リストに名前が表示されずにストーリーを視聴 - アカウント不要：Instagramのアカウントにサインインせずに公開コンテンツを視聴 - コンテンツダウンロード：ストーリーコンテンツを直接デバイスに保存してオフラインで使用 - ハイライト視聴：24時間を過ぎてもInstagramのハイライトにアクセス - リポストモニタリング：個人プロファイルのストーリーに対するリポストやエンゲージメントのレベルを追跡 制限事項：- このツールは公開アカウントでのみ動作し、非公開アカウントはアクセスできません。 利点：- プライバシー保護：Instagramのコンテンツを匿名で閲覧可能 - シンプルで簡単：アプリのインストールや登録は不要 - 独自のツール：Instagramが提供していない方法でコンテンツをダウンロードおよび管理可能
Anonstoriesの利点
IGストーリーをプライベートに探る
Instagramの更新をプライバシーを守りつつ、匿名で追跡できます。
プライベートInstagramビューア
プライベートプロファイルビューアを使用して、プロフィールと写真を簡単に匿名で閲覧できます。
無料のストーリービューア
この無料ツールでInstagramストーリーを匿名で閲覧でき、アクティビティがストーリーアップローダーに知られることはありません。
よくある質問
匿名性
Anonstoriesを使用すると、作成者に通知されることなくInstagramストーリーを閲覧できます。
デバイス互換性
iOS、Android、Windows、macOS、ChromeやSafariなどの最新のブラウザで問題なく動作します。
安全性とプライバシー
ログイン情報なしで、安全かつ匿名で閲覧できます。
登録不要
ユーザーは、ユーザー名を入力するだけで公開ストーリーを閲覧可能—アカウント登録は不要です。
対応フォーマット
写真（JPEG）と動画（MP4）を簡単にダウンロードできます。
料金
サービスは無料で利用できます。
非公開アカウント
非公開アカウントのコンテンツはフォロワーのみがアクセスできます。
ファイル使用
ファイルは個人または教育目的でのみ使用し、著作権法を遵守する必要があります。
動作方法
公開ユーザー名を入力して、ストーリーを閲覧またはダウンロードします。サービスはコンテンツをローカルに保存するための直接リンクを生成します。