Images from previous works.

DE(WORK) is an installation on the Degrowth of Work. Technological development and globalisation have created an apparent decoupling of economic growth from material resource extraction. This has only been made possible by the increased abstraction of labour, and the spatial distance between sites of production and consumption. The installation, (DE)WORK, exposes the interdependencies between processes of material extraction, productive labour, and growth within the globalised economy. It presents raw data on economic and financial, environmental, and political metrics driving complex processes of deforestation as an example of material extraction – in an abstract and continuous flow, manicured live by an ...

A New Theory of Love — A table left in the middle of a dinner. The tablecloth wrinkled with scattered toy blocks. Fragments of a facade can be seen — interrupted, cut open and penetrated. Lampposts dot the surface — reminders of a street now emptied of cars. At the edge, a stairway is inhabited anew: a bathtub hangs from a landing, sofas are built onto a flight of steps, a television flickers. Underneath, a re- furbished entrance frays the threshold to an apartment. — Who has inhabited this common infrastructure ? What has happened to the stairway as we know ...

Accattone #6 explores a renewed relationship with land, matter, ‘nature’ and localities against the backdrop of the new climatic regime. Situated at the intersection of architecture, representation and editorial-curatorial practices, the magazine is also permeated by a continuous research on methods and forms of practice. In particular, this issue addresses the use of film-making as a tool to foster and disseminate architectural positions; editorial devices and contents used by fellow little magazines; and the representation of nature in research, artistic and design practices. This issue is based on meetings and conversations that took place over the past year. Driven by ...

Material circulation encompasses architectural production and de-production when considered within geological time. Architecture is a fleeting construct—a temporary, unstable container of increasingly-valued minerals that is always in a state of settling. You say to brick, “what do you want, brick?” Brick says to you,”I want to be mud.” Aggregates, especially with the rise of modern concrete, have become our second most-used resource. While sand, gravel, and small rocks account for up to 75% of concrete’s composition, sand alone accounts for over 85% of global mining activity. As a finite resource, aggregates on the market wield consequences from land-reclamation driven conflicts to ...

We live in challenging times. There is overwhelming evidence that massive change is required in order to survive impending environmental collapse. Yet this fifth volume in the Archifutures series takes the position that the “apocalypse” is not an imminent event, but an insidious process that is already happening. Communities everywhere are facing it on a day-to-day basis. Many are already resisting and adapting. Despite the implied drama of the word “apocalypse”, the reality is actually far more mundane: surviving it is not about building bunkers, it is about building resilience – everywhere and in all kinds of ways. Contributors include: Bora ...

As a bar of soap, ARCHITECTURE is a communal resource for the Triennale visitors to clean themselves. It also stands in as a symbol for architecture; a coming together of materials in concrete form that facilitates social processes. As it is used, ARCHITECTURE loses its rigid form. Its fixed appearance erodes through use and it is molded by the hands that touch it; a record of the material sociability inherent in its structure and function. ARCHITECTURE pays attention to the material flows that sustain a collective hygiene, while thinking through architecture as a social entity that evolves beyond its original form.

Research regarding the significance and consequence of anthropogenic transformations of the earth’s land, oceans, biosphere and climate have demonstrated that, from a wide variety of perspectives, it is very likely that humans have initiated a new geological epoch, their own. First labeled the Anthropocene by the chemist Paul Crutzen, the consideration of the merits of the Anthropocene thesis by the International Commission on Stratigraphy and the International Union of Geological Sciences has also garnered the attention of philosophers, historians, and legal scholars, as well as an increasing number of researchers from a range of scientific backgrounds. Architecture in the Anthropocene: ...

Initiated by visual artist, researcher and amateur plant breeder Åsa Sonjasdotter, in collaboration with practitioners of cultivation, the project Peace with the Earth – Tracing Agricultural Memory, Refiguring Practice revisits histories of agriculture. It investigates soil, habitat and dwelling histories, in order to challenge and transform long-established cultural narratives of cultivation and ecological thinking.

ARPA is an artefact reflecting on the progressive transformation of labour and the socio-economic consequences linked to the introduction of automation in production processes. Despite all reservations, automation might be considered to substantially contribute to the construction of a socio-economically sustainable paradise, freeing humanity from the fatigue of labour through an ecosystem of machines. ARPA is shaped as an instrument of propaganda, a device as part of a larger communication strategy staged in the city of Oslo, informing the public about a forthcoming technological revolution. The collision between the two media involved – still images and scrolling video-texts – unveils ...

Rising seas and economic volatility affect a city’s residents differently, exaggerating existing social inequality. How do we cooperate or compete in the face of risk? Bartertown is a board game that tests how cities and people can survive, and even thrive, in a crisis. It imagines a world without money to test how social networks can be re-shaped by an economy of favors and resource-sharing. Players conduct activities and adapt to oods, res, or a new romance—all while negotiating for a couch to sleep on or the chance to build ood-protection infrastructures.

This SDUK broadsheet is the first to follow The Work of Wind: Air, Land, Sea, a ten-day contemporary art festival engaging with climate change, environmental crisis, and resilience which took place in Mississauga’s Southdown Industrial Area in September 2018. Taking BEARING as its theme, this issue turns our attention to alienation, affect, anxiety, and questions of responsibility and resilience. For curious readers of all persuasions—those new to the project and those who have been following its year-long unfurling—here are some places to begin: If you are wondering how can we enact responsibility to humans and nonhumans in bleak political and ecological ...