Visualizador de Stories do Instagram
Veja Stories do Instagram Anonimamente
polytechnic___
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
Veja Stories do Instagram Secretamente
O Visualizador de Stories do Instagram é uma ferramenta fácil que permite assistir e salvar stories, vídeos, fotos ou IGTV do Instagram secretamente. Com este serviço, você pode baixar conteúdos e apreciá-los offline sempre que quiser. Se você encontrar algo interessante no Instagram que gostaria de ver mais tarde ou quiser visualizar stories de forma anônima, nosso Visualizador é perfeito para você. Anonstories oferece uma excelente solução para manter sua identidade oculta. O Instagram lançou a funcionalidade de Stories em agosto de 2023, que logo foi adotada por outras plataformas devido ao seu formato dinâmico e sensível ao tempo. Os Stories permitem que os usuários compartilhem atualizações rápidas, sejam fotos, vídeos ou selfies, com textos, emojis ou filtros, e ficam visíveis por apenas 24 horas. Esse limite de tempo cria maior engajamento em comparação com posts comuns. Nos dias de hoje, os Stories são uma das formas mais populares de se conectar e comunicar nas redes sociais. No entanto, quando você visualiza um Story, o criador pode ver seu nome na lista de visualizadores, o que pode ser uma preocupação com a privacidade. E se você quiser navegar pelos Stories sem ser notado? É aí que o Anonstories se torna útil. Ele permite que você assista a conteúdos públicos do Instagram sem revelar sua identidade. Basta digitar o nome de usuário do perfil que você está curioso, e a ferramenta mostrará seus Stories mais recentes. Funcionalidades do Visualizador Anonstories: - Navegação Anônima: Veja Stories sem aparecer na lista de visualizadores. - Sem Conta Necessária: Veja conteúdos públicos sem se cadastrar no Instagram. - Download de Conteúdos: Salve qualquer conteúdo de Stories diretamente no seu dispositivo para uso offline. - Veja Destaques: Acesse os Destaques do Instagram, até mesmo após o prazo de 24 horas. - Monitoramento de Reposts: Acompanhe os reposts ou o nível de engajamento em Stories de perfis pessoais. Limitações: - Esta ferramenta funciona apenas com contas públicas; contas privadas permanecem inacessíveis. Benefícios: - Amigável à Privacidade: Veja qualquer conteúdo do Instagram sem ser notado. - Simples e Fácil: Não há necessidade de instalação de aplicativo ou registro. - Ferramentas Exclusivas: Baixe e gerencie conteúdos de maneiras que o Instagram não oferece.
Vantagens do Anonstories
Explore Stories do IG Privadamente
Acompanhe as atualizações do Instagram de forma discreta, protegendo sua privacidade e permanecendo anônimo.
Visualizador Privado do Instagram
Veja perfis e fotos anonimamente com facilidade usando o Visualizador de Perfil Privado.
Visualizador de Stories Gratuito
Esta ferramenta gratuita permite que você veja Stories do Instagram anonimamente, garantindo que sua atividade permaneça oculta do criador do story.
Perguntas Frequentes
Anonimato
Anonstories permite que os usuários vejam stories do Instagram sem alertar o criador.
Compatibilidade com Dispositivos
Funciona perfeitamente em iOS, Android, Windows, macOS e navegadores modernos como Chrome e Safari.
Segurança e Privacidade
Prioriza navegação segura e anônima, sem necessidade de credenciais de login.
Sem Registro
Os usuários podem visualizar stories públicos digitando apenas o nome de usuário—sem precisar de uma conta.
Formatos Suportados
Baixa fotos (JPEG) e vídeos (MP4) com facilidade.
Custo
O serviço é gratuito.
Contas Privadas
Conteúdos de contas privadas só podem ser acessados por seguidores.
Uso de Arquivos
Os arquivos são para uso pessoal ou educacional, conforme as regras de direitos autorais.
Como Funciona
Digite um nome de usuário público para ver ou baixar stories. O serviço gera links diretos para salvar o conteúdo localmente.