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Polytechnic
Graphic design for culture and the built environment
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The title wall graphic is flatbed printed in relief, layering multiple passes of UV-cured white ink onto a colour-matched non-PVC vinyl. The image is an abstraction from an early work-in-progress photograph from Julia’s studio of 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐 (2026).
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
2400 × 3420mm
Non-PVC vinyl
White ink (×3 passes)
Flatbed
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 1 & 2: 𝘋𝘳𝘢𝘪𝘯𝘦𝘳 𝘐𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 3 & 4: Exhibition title wall. Photo by @thomasadank
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 and 𝘔𝘦𝘥𝘪𝘢𝘵𝘰𝘳 𝘐𝘐𝘐, 2025–26 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 9: 𝘈𝘴𝘴𝘪𝘴𝘵𝘦𝘥 𝘊𝘰𝘯𝘤𝘦𝘱𝘵𝘪𝘰𝘯 𝘋𝘳𝘢𝘸𝘪𝘯𝘨𝘴 (𝘐—𝘐𝘝), 2025–26 (detail) by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Scanned spreads of the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
The combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
Printed in the UK by @pureprintgroup
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
𝘑𝘶𝘭𝘪𝘢 𝘗𝘩𝘪𝘭𝘭𝘪𝘱𝘴: 𝘐𝘯𝘴𝘪𝘥𝘦, 𝘉𝘦𝘧𝘰𝘳𝘦 𝘛𝘩𝘦𝘺 𝘚𝘱𝘦𝘢𝘬
Barbican Centre
30 January—19 April, 2026
@barbicancentre
Installation views from The Curve alongside scanned details from the printed counterpart, which features a gallery map, captions and extended captions, a transcript of a conversation between artist Julia Phillips and Dr. Gail Lewis, and archival installation images from the Art Institute of Chicago.
In the printed counterpart, the combination of paper, ink and page composition allow the quiet qualities of layering and show-through to become a feature — echoing themes of form, negative space, trace and impression in the works. The typeface used throughout (Basically Sans, Lucas Decroix) has a tension in its design detailing between a harsh mechanical and a gentle human form.
Curator: Ana Torok
Assistant Curator: @inesgeraldescardoso
168 × 240mm
12pp
Metallic ink, Pantone 10398
Self-cover
Arena Natural Rough 90gsm
—
Image 3 & 4: 𝘏𝘢𝘳𝘮𝘰𝘯𝘪𝘻𝘦𝘳, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 6: 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
Image 8: Photo by @thomasadank
Image 9: 𝘍𝘦𝘳𝘵𝘪𝘭𝘪𝘻𝘦𝘳, 2026 and 𝘚𝘶𝘴𝘱𝘦𝘯𝘥𝘦𝘥 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐, 2026 by Julia Phillips. Credit: ©Thomas Adank & Barbican Art Gallery
#juliaphillips #barbican #thecurve #ceramic #casting #anatomical #industrial #hardware #glaze #sculpture #contemporaryart #conversation #gaillewis #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Various offcuts and process material from our exhibition identity for THE CRAFTOCENE, the new major solo exhibition by Superflux at the Weltmuseum Wien in Vienna.
@superfluxstudio 💫
The graphic design commission spanned exhibition identity, internal and external signage and the design for a number of text-based exhibits in the show.
To deliver the work we used a range of analogue and digital processes. These included DTM printing onto sheet aluminium, 3.5DTM printing onto pre-drilled sheet steel, fabric printing onto 55gsm muslin, printing and monoprinting with a 110L black bin-liner, an object which to us best signified the detritus of the Anthropocene.
Exhibition continues until 16 August, 2026.
(Installation images to follow)
@jonardern
@anabjain
@superfluxstudio
@jfine_kunst
@weltmuseumwien
claudiabanz1
@trackycrombie
@_ed_lewis
@matt_edgson
@moncano
@jaxonstickler
@lvferris
@carmen.poptiron
@hannaktrn
@badd_esigns
@jjbulley
@carolinechoulertissier
@iminoizq
@bettinazironi
@sged_mash
@martatorrentboix
@ninoferrao
@leannefischler
@sebtiew
@garethhuw
@puck_studio
Video clip on slide 4 from @anabjain, photo on slide 8 from @puck_studio
#superflux #craftocene #weltmuseum #wien #exhibition #production #consumption #obsolescence #fabricprinting #dtm #monoprinting #graphicdesign #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #buildingfabric #architecture #innovation #lowcarbon #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #systemsdesign #architecture #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from recent rebrand for engineering design practice Ritchie+Daffin.
@ritchiedaffin
https://ritchiedaffin.com/
The rebrand and identity system establishes a new visual direction and brings consistency and clarity across all outward-facing materials.
The new website houses Adam and Neil’s astonishing and ever expanding archive of work — with their highly innovative and technical design work integral to so many celebrated buildings of the last decade.
Current projects incl. Black Robin Farm w/ @feildenfowles, Tate Liverpool w/ @6a__architects, Embassy of Switzerland w/ @dowjonesarchitects and Durham Wharf w/ @assembleofficial to name but a few.
Ritchie+Daffin were recently shortlisted for second year running w/ @hughstrangearchitects for @RIBA House of the Year (2024 and 2025), and were winners w/ @clementine.blakemore of The Stephen Lawrence Prize (2024).
Photography by @thomasadank
#engineering #architecture #graphicdesign #bitum #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Common Treasures Vol. 2
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Details from Common Treasures, Vol. 2
—
This book is the first project by Common Treasures, an organisation dedicated to creating and implementing practical tools and processes that enable and empower communities, landowners, housing providers and Local Authorities to realise better shared outcomes for rural places and the people that live and work in them.
Common Treasures began as a series of conversations between members of the architecture collective Assemble, community wealth builders Wessex Community Assets, the arts organisation Common Ground and others, exploring alternative approaches to rural housing — rethinking how it is developed, designed and built.
The books are printed and bound locally in the UK to reduce emissions from shipping, and printed using solvent-free vegetable-based inks with printing presses that are powered from electricity produced from renewables. The papers specified are FSC certified (meaning the wood fibre comes from responsibly managed forests) but are also made using Elemental Chlorine Free (ECF) Pulp, and are free of heavy metals. The fibrous coverstock papers have a minimum of 30% post-consumer recycled pulp in their sheets.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
@jamesassembles
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
@littletollerbooks
@pureprintgroup
@antalisuk
@fedrigoni_uk
@fedrigoni.paper
Vol.2
@rebeccasmithauthor
@robhopkins5085
@francesnorthrop
Ruth Munns of @eco_land_coop
Andrew Kirby
James Shorten
Loretta Bosence of @localworkstudio
@hanaloftus
Barbara Jones of @strawworks_uk
@kimsquirrell
@kenworpole
@timcrabtree99
@sumsais of @material_cultures
#rural #land #housing #planning #construction #architecture #book #graphicdesign #polytechnic
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
Common Treasures is a new independent organisation set up in 2025 by members & collaborators of Assemble.
It equips organisations with the tools of art, architecture and creative practice to enable them to design, demonstrate and advocate for better ways of doing things, supporting communities and places to thrive.
Our first project is series of books that bring together stories from practitioners working on the ground - often literally in the field - in communities and rural places across the UK.
Volume 1 focuses on contributions from people working for change in food, farming and land systems, whether on the site of a single small holding or
at the regional or national scale.
Their stories are part of an ongoing series of books that present practical responses to contemporary challenges in rural communities from people whose work is grounded in an understanding of the centrality of land use and access to land in solving the most challenging problems we face.
Contributions feature representatives of the Ecological Land Cooperative, Fordhall Community Land Initiative, Evolving Forests, Transition Towns, Falmouth Food Coop, Tinkers’ Bubble, Material Cultures, Straw Works, ReSet, Local Works Studio, Wessex Community Assets & Roots to Regeneration.
Photography in the books is by @kaye.song 🙏
Photography of the books on Slide 3 and 5 by @thomasadank 🙏
Available now via link in bio.
Contributors and partners include:
@commontreasures
@assembleofficial
Amica Dall
Giles Smith
James Binning
Sara Pereira
@kaye.song
@polytechnic___
@assemble_studio_epfl
Vol.1
@dodgson_wood
Philip Trevelyan
@meganwilloughby_
Charlotte Hollins of @fordhallfarm
Stella Peyerl of @eco_land_coop
@_steezy_does_it
@jezralph
Clare Hill
Alice Clarke
Colleen McCulloch of @soilassociation
@sl_axe
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
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Private Instagram Viewer
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Story Viewer for Free
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Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
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Prioritizes secure, anonymous browsing without requiring login credentials.
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Users can view public stories by simply entering a username—no account needed.
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Downloads photos (JPEG) and videos (MP4) with ease.
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Content from private accounts can only be accessed by followers.
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Enter a public username to view or download stories. The service generates direct links for saving content locally.