인스타그램 스토리 뷰어
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simulaa_
Simulaa
Architecture office based in Naarm
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill,Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
It’s been ≈31,536,000,000,000,000,000,000,000,000,000,000,000 quectoseconds / ≈945,425,000,000,000,000 jiffies / 1 year since Deep Time Real Time opened at the Design Hub Gallery.
The exhibition explored society's rigid classification of time as a measurable, linear progression, often framed through language of growth, accumulation and acceleration, which is central to our inability to adequately respond to the current planetary polycrisis. In much of the world, time has been instrumentalised as a tool of expansion, reinforcing an economic and technological logic that prioritises perpetual advancement, over equilibrium. Yet, the rhythms of life on Earth, human and non-human alike, are inherently relational, unfolding through interconnected cycles of emergence, decay and renewal. Rather than racing forward in pursuit of unchecked progress, the temporalities of the living world are attuned to deep, reciprocal exchanges.
Strata Signals layered these registrations of time along a 26-metre run of drill core samples (on loan from Victoria’s Drill Core Library), forming a material timeline. Above it, screens, sensors and research artefacts traced real time systems of monitoring, modelling and extraction. The work posited that without time literacy, architecture defaults to a short-sightedness that results in cycles of waste, toxicity and ecological damage.
The exhibition included incredible contributions from Fayen d’Evie, Alicia Frankovich, Farzin Lotfi-Jam, Nicholas Mangan and Cameron Allan McKean, Emma Jackson, Joel Sherwood Spring, Stuart Geddes, Žiga Testen and Will Neill, Geological Survey of Victoria, Palynology, Palaeoecology and Biogeography Research Lab, Clean Air Task Force, Society for the Protection of Underground Networks, Algal Processing Group, HyperSens Laboratory and Julien Comer-Kleine.
The exhibition was co-curated with Fleur Watson @somethingtogether and was made possible through the support of the Alastair Swayn Foundation and RMIT Culture. Graphic design by Stuart Geddes @stuartgeddes and Žiga Testen @testen.studio Access consultancy by Access Lab and Library (ALL) @accesslabandlibrary
Photos Annika Kafcaloudis @annikakafcaloudis
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Acting as a gravity battery, a galvanised steel gantry lifts and lowers stone blocks in the centre of the carpark void. During the day the blocks are raised using excess electricity generated by the adjacent solar array; at night the blocks lower slowly, driving a turbine to generate electricity and power the site when the sun isn’t shining. The intervention forms part of a retrofit proposal for the reservoir car park in Basel, 2024.
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing @simulaa_, leading ‘Additions and Adaptations’ as part of the 🟡 International Emerging Workshop. [2/2]
Simulaa is an architectural practice established in Naarm (Australia) by Andre Bonnice (@andrebonnice) and Anna Jankovic (@ana_jank).
The work of the practice is defined by a considered analysis and a research-based approach that prioritises time-based design thinking. Their work spans a broad range of scales and contexts, exploring how architecture might respond and act in a world defined by environmental limits, interrelational systems and layered temporalities.
💡 The workshop ‘Additions and Adaptations’ extends Simulaa’s research, situating architecture as a mediator of coexistence rather than an instrument of control.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Project images:
1. Architekturwoche Basel,
Simulaa, Courtesy of the studio.
2. House for Lichen
Simulaa, Courtesy of the studio.
3. Murray to Mountains Rail Trail
Simulaa, Courtesy of the studio.
4. Energy Objects
Simulaa, Courtesy of the studio.
5. Strata Signals
Simulaa, © Tom Ross (@tomross.xyz).
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Introducing ‘Additions and Adaptations’, a studio led by @simulaa_ as part of the 🟡 International Emerging Workshop. [1/2]
A persistent misconception is that architecture is impervious to the natural world, standing apart from ecological forces but in reality, no building is sealed off. In an age of ecological transition, architecture must resist the impulse to dominate or control these dynamics, and instead become a mediator.
💭 How can architecture register, represent and respond to non-human actors and processes? Where does architecture become a mediator of coexistence rather than an instrument of control?
The workshop will be organised through acts of sensing and making across Barcelona. Participants will experiment with tools to reveal overlooked conditions, including time-based video recording, environmental sensing and biodiversity mapping. This will inform representations and small interventions that support both human and non-human life.
→ The International Emerging Workshop will take place in Barcelona from 🗓️ 19 to 27 June 2026. Participants will engage in collaborative explorations through studio work, site visits and open exchanges. The results of the work will be exhibited during the UIA World Congress of Architects 2026.
Interested in applying? Find all details at 🔗 uia2026bcn.org
→ The UIA World Congress of Architects 2026 Barcelona is organised by the International Union of Architects (@uia_architects) through the Higher Council of Professional Associations of Architects of Spain (@cscae) and the Architects’ Association of Catalonia (@coacatalunya). UIA2026BCN receives institutional support and is funded by the Ministry of Housing and Urban Agenda (@viviendagob), the Government of Catalonia (@territoricat), and the Barcelona City Council (@barcelona_cat).
#UIA2026BCN #Becoming #Barcelona2026 @bcn_arquitectura
Images:
1. Simulaa portrait, © Yaseera Moosa (@yaseera.jpg).
2. iNaturalist, Simulaa.
3. House for Lichen, Simulaa.
Architekturwoche Basel, competition, 2024. A series of interventions to a multi-story car park and district basin in Dreispitz.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Featured in our essay is the Murray to Mountains Rail Trail project, 2023, developed in collaboration with @artboxau , @bushprojects and @thepeoplespapijackprince . Sadly unrealised, the proposal spanned a 110km bike trail across Yorta Yorta, Wiradjuri, and Waveroo Country, following the former rail lines from Rutherglen to Bright. The design included a network of off-grid structures that provided amenities, recharge stations, bike maintenance and rest points. A standard set of components is adapted at each site to respond to specific geological, ecological, and cultural conditions, acting as legible markers in the landscape across varying scales and distances.
Pictured is the Tarrawingee Rest Stop, situated beside the 'Federation Tree', a community landmark planted in 1901, which is known for turning bright pink before a storm. Here, the modular elements are arranged to form a small amphitheatre and gathering space, constructed from salvaged stone sourced from a nearby quarry, and oriented to frame views of the tree.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
Our contribution to Volume 11 of @inflectionjournal titled ‘Time-Based Architecture: What Happens to the Soil That Washes Away?’, reflects on time, materials, and what ‘regeneration’ actually means for architecture. Framing geologic time as a foundation for material circularity, the essay critiques the industry’s dependence on linear temporal models, regulatory inertia, and extractive global supply chains. It argues for time-literacy as a design imperative, advocating for bioregional design practice, as a model for systemic change.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 was published in 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵, by @thresholdprojects and co-curated with @___office. The publication launched alongside the exhibition 𝘉𝘶𝘪𝘭𝘵 𝘌𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 @threefivefivethree.
𝘏𝘰𝘶𝘴𝘦 𝘧𝘰𝘳 𝘓𝘪𝘤𝘩𝘦𝘯 is conceived as a ‘house’ in service of lichen. The environmental conditions required for lichen to thrive form the basis for the architecture. If architecture, and by extension the urban environment, can support lichen growth, it signals the presence of a healthy ecosystem for both human and non-human life.
Lichens grow at a glacial pace, typically 0.1 to 15 millimetres per year, depending on environmental conditions. Over long periods, they can etch and pit rock surfaces, contributing to the first stages of soil formation. Though almost imperceptible in the short term, this slow activity shapes landscapes over geological timescales.
The house takes the form of a rudimentary bothy, recalling proto-architectural structures such as dolmens, megalithic tombs from the Neolithic period. Its mass is constructed from disused basalt blocks, salvaged from Melbourne’s civil infrastructure. This is the same stone used in the bluestone retaining wall around the Royal Exhibition Gardens, one of the few places in the city where lichen still persists. The basalt originates from the Newer Volcanics Province of Western Victoria, a vast plain formed by lava flows around seven million years ago, which over time generated the magnesium- and iron-rich soils that now support much of Victoria’s agriculture.
An environmental sensor on the roof logs temperature, humidity, air quality, and pollution to track conditions relevant to lichen viability. A misting system circulates moisture along the parapet to optimise a microclimate. In this way, the house becomes a site for a long view: where the gradual accretion of lichen registers environmental history not in real-time, but across seasons and decades. As lichen etches the bluestone, it performs a quiet, geological labour,the slow work of breakdown and renewal. Over centuries, the structure will be reclaimed, returning to the landscape it once observed.
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.