Index
The "Wall of Salt" project team looks back on four years of exploration and collaboration, to enhance the value of the salt resource and the know-how surrounding it. Image courtesy of Atelier LUMA

-shedding

Interactive Essay
4 propositions
A Future Observatory Forecast

This forecast presents a vision for the future of design. Working with researchers across disciplines, we propose alternative systems, strategies and possibilities for remaking our world.

Introduction

This forecast explores the -shed as a radical way to rethink design and manufacturing. It presents four new propositions for the design process.

Contents

  1. Introduction

    Defining –sheds as an alternative scale for design intervention.

  2. Brief from the Land

    Embedding the design brief within a -shed.

  3. Alternative Prospecting

    Sourcing materials within natural limits.

  4. Topofacture

    Establishing landscape-centred manufacturing.

  5. Material Resonance

    Reframing growth as scaling out rather than scaling up.

Image courtesy of Norlha, photography by Nikki McClarron
Image courtesy of Dana Lee Brown
Lithium. Image courtesy of Li-Metal
Fibershed Houston Textile Company. Image courtesy of Paige Green
Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck

We have a problem with scale. The planetary crisis can seem impossible to grasp. But focusing on the local can feel limited. How do we work to a scale that feels manageable?

There is a way of reorganising how we think about scale: the -shed.

-sheds (from Old English scead) describe the natural boundaries between waterbodies. They are not hard-edged territories, but networks.

-sheds invite us to think at the level of landscape and natural systems.

Possible -sheds

  1. Fibreshed

    A geographic region that is connected by its network of fibre flows from farmers, fibre processors, textile producers and consumers.

  2. Watershed

    An area of land that drains rainfall and snowmelt into streams and rivers, which flow into larger lakes, bays and oceans.

  3. Desertshed

    –sheds can also be imagined in arid environments, where sand flows define the shape and surfaces of landscapes and the ecosystems they support.

  4. Atmos-shed

    A planetary scale of thinking that transcends terrestrial borders by factoring in what is happening in the atmosphere, where boundaries are blurred by wind and precipitation.

Oltre Terra. Image courtesy of Formafantasma, photography by Alessandro Celli
Image courtesy of Norlha, photography by Kin Coedel
Image courtesy of Norlha, photography by Kin Coedel
Image courtesy of Norlha, photography by Kin Coedel
Oltre Terra, Turning Wool Into Yarn by Hand. Image courtesy of Formafantasma and Joanna Piotrowska
The Saltmarsh Project, Bioregional Learning Centre. Film courtesy of Emilio Mula, nu-frame.co.uk
Langtauferer Ferner/Vedretta di Vallelunga in the Ötztal Alps/Alpi Venoste, Summer 1921. From the archives of Istituto Geografico Militare. Image courtesy of Marco Ferrari, Studio Folder
The moving border on the Übeltal/Malavalle glacier in the area of Wilder Pfaff/Cima del Prete, 2012. From the archives of Istituto Geografico Militare. Italian Limes. Image courtesy of Marco Ferrari, Studio Folder
Installation of the border measurement devices on the Austrian-Italian watershed, Similaun glacier, Ötztal Alps. Italian Limes. Image courtesy of Studio Folder, photography by Delfino Sisto Legnani
Aerial View of Military infrastructure in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
Aerial View of Light Craft Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
Aerial View of Heavy Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
The water vapor and aerosols [airborne particles of dust, soot, mold, and bacteria] of Earth's third atmosphere-ocean environment are shown in this full-disk visualization centered above China. Image derived from FY-4A AGRI L1 satellite data set [Fēngyún-4 are China Meteorological Administration’s most recent geosynchronous meteorological satellites]. Prologue to the Sky River. Image courtesy of Marco Ferrari
Proposition 1

Brief from the Land

Brief from the Land

Designers have traditionally looked to (human) user needs to inform their early product thinking. With -shedding, designers start with the place in which they work, understanding its geological and climatic conditions, its flora and fauna, its social histories, its existing and latent industries.

China Western. Image courtesy Carlos Spottorno
Emma Hague, founder South West England Fibreshed

‘We are asking a landscape to define how we design.’

Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
Samia Henni, editor of Deserts Are Not Empty

‘To be as respectful as possible one must understand most of the conditions and aspects of a region, not only the territory but also the built and destroyed environment and the heritage that comes with a very specific place.’

Image courtesy Observatoire des armements, photography by Bruno Barrillot
MEXUS: Geographies of Interdependence, 2018. Image courtesy of Estudio Teddy Cruz + Fonna Forman
Aerial View of Military infrastructure in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
Image courtesy of Material Cultures

The new brief for designers is to produce in a regenerative way, sustaining or reviving the health of natural and cultural ecosystems rather than depleting them.

Contact Waste materials assembled by mycelium. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse

Tactics for cultivating natural and cultural ecosystems

  1. The Living Infrastructure Field Kit

    A set of tools and resources developed by Accelerate Resilience LA. The kit is designed to increase community capacity in Los Angeles, empowering Angelenos to slowly transform their city to cope with environmental changes.

  2. Crofting 2.0

    A regenerative agriculture proposal by systems designers Dark Matter Labs, developed for the Scottish Land Commission. By reviving crofting practices, small-scale land stewardship embeds social and ecological care into civic systems.

  3. Learning from Kilburn

    An experimental university in Kilburn, London. The university poses questions like ‘what does Kilburn wear?’ and ‘does Kilburn even exist?’, prompting participants to reflect differently on their neighbourhood and imagine new futures for the area.

  4. Deserts Are Not Empty

    A conceptual framework published by historian Samia Henni that counters the colonial idea of deserts as barren places by centring the ecologies, peoples and histories of these landscapes.

Think Differently about Water, Accelerate Resilience. Image courtesy of Los Angeles and Spherical, directed by John Pavlus, VFX by Almost Human Media
Tactile Afferents, 2022. Image courtesy of Formafantasma and Joanna Piotrowska, commissioned and co-produced by The National Museum of Norway, co-produced by Fondazione In Between Art Film, creative producer Alessandro Rabottini, stills from movie
Learning from Kilburn. Developed and directed by Tom Ó Caollaí, commissioned by Spacemakers, in collaboration with OK-RM and Pernilla Ohrstedt Studio. The project was funded by the London Boroughs of Brent and Camden. Photography by Theo Simpson
Aerial View of Heavy Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places.
Isabel Carlisle, co-director Bioregional Learning Centre

‘The regenerative design process enables us to see who our place is, how it functions, and where its edges are.’

Image courtesy of Atelier LUMA
Image courtesy of Atelier LUMA
Image courtesy of Atelier LUMA

Designing with natural systems invites designers to think beyond their traditional toolkit. By sharing methods with archeologists, speculative storytellers, human geographers and ecologists, the intricacies of a place crystallise.

Image courtesy of Atelier LUMA

New tools

  1. The Nebelivka Hypothesis

    Novel archaeological techniques are revealing previously unknown civilisations hidden in the soil. This project by Forensic Architecture reveals ancient cities in today's central Ukraine. These cities developed a system of urban life that enhanced the vitality of the surrounding environment.

  2. Ofstruggle

    Ofstruggle is a browser-based archive by Exhausted Geographies, a Karachi-based publishing project. The project aims to build solidarity and map ongoing struggles around land and water in Pakistan's ex-capital.

  3. Restaging Temporalities

    Speculative storytelling and digital restaging are used by architects dll. collective to work with frontline communities in Indonesia’s kampung kota (urban villages) to confront the risks of flooding urban infrastructures.

  4. Public Map Platform

    An early-stage research project by Cambridge University creating ‘data sandwiches’ that layer scientific geospatial data with qualitative data. This includes recorded sounds and smells, visual records of seasonal blooms and oral testimony to holistically capture climate change in Anglesey, Wales.

The Nebelivka Hypothesis. Image courtesy of Forensic Architecture
Image courtesy of Forensic Architecture
The Nebelivka Hypothesis. Image courtesy of Forensic Architecture
Of Struggle Website. Image courtesy of Exhausted Geographies
Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
Public Map Platform, Cambridge University. Image courtesy of Piers Taylor and Owen Pierce
The bioregional steward

‘I’m the living memory of this valley: I know about the water runoff, where the best wood grows, and the useful waste the town creates. Designers often come to me to ask what’s needed nearby or what’s abundant. That way, the valley is never depleted. But that’s also how businesses are born, in that knowledge.’

Proposition 2

Alternative Prospecting

Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
Alternative Prospecting

-sheds remap the world as bioregions defined by ecological boundaries. But bioregions are not apolitical.

The Nebelivka Hypothesis. Image courtesy of Forensic Architecture

Policy mobilising the green transition through onshoring and place-based renewable energy has implications for extraction in bioregions around the world.

Actions proposed for the green transition

  1. The Critical Raw Materials Act

    Passed by the European Union in March 2024, the CRMA aims to secure the supply of materials such as cobalt and lithium needed for the green transition. This will involve the onshoring of mining and extraction across the EU.

  2. The Green New Deal

    A 2019 legislative proposal for economic reform and green industrial strategy, putting workers and marginalised communities at the heart of renewable energy transitions in the USA.

  3. The Manifesto for Ecosocial Energy Transition from the Peoples of the South

    A set of demands for a just transition that refuses continued material extraction from the Global South to support ecological infrastructure in the North. Signed by a broad coalition of organisations and individuals.

Image courtesy of Russ Rizzo and Cal Neva Mineral Co
Image courtesy of Oleg Lopatkin
Image courtesy of Ellen Stewart
Power plant in the Mojave desert. Image courtesy of Balazs Gardi
Image courtesy of Firdaus Latif
LPG (Liquid Petroleum Gas) storage tank at a natural gas processing plant, belonging to Bonavista Petroleum, near Carstairs, Alberta on July 18, 2015. Image courtesy of Larry MacDougal
Image courtesy of Modvion

Alongside procuring raw materials, designers need to mine for cooked ones – that is, undervalued materials already in circulation, found in waste streams or agricultural co-products. This above-ground mining means the sites of material prospecting can be much closer to home.

Dirty chair N.4, Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
Dirty chair N.5, Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse

Practices mining close to home

  1. Material Cultures

    In a report for Future Observatory, architects Material Cultures outline how public and private woodlands could be reconfigured to support UK timber production as part of a shift to a more regenerative construction industry.

  2. Rotor

    Brussels-based cooperative design practice Rotor work with building elements reclaimed from demolition sites. They run an online and physical shop, RotorDC, where salvaged parts are available for anyone to buy.

Left: Constructive Land, Unit 3 (2022), MArch: UAL. Image courtesy of Material Cultures, photography by Zahra Badaoui, Elise Blackmore and Leo Hui Right: Forestry England's Dalby Forest in Yorkshire. Image courtesy of Material Cultures
Image courtesy of Pascal Broze
Image courtesy of Rotor DC
Image courtesy of Rotor DC

Instead of extraction, taking a regenerative approach means enhancing rather than exhausting resources, communities and landscapes. Looking to undervalued materials is also the cultivation of undervalued knowledges.

Image courtesy Cooking Sections
Uig Re-Commoning The Coast Workshop, CLIMAVORE CIC, Isle Of Skye, 2022. Image courtesy Cooking Sections, photography by Jordan Young

Practices upskilling people in their place

  1. Climavore

    A Community Interest Company and project building alternative economies to salmon fishing in the Isle of Skye. By re-routing the fishing economy towards shell-fishing, waste shells are then collected and developed into a terrazzo tile as a low-carbon construction material. 

  2. MASS.Made

    A new furniture division of MASS Design Group in Rwanda that uses a ‘footprint, handprint’ metric to ensure that materials are sourced locally and hand-built. Basket weavers and potters are upskilled to produce large-scale design and architectural projects.

Building Economic Alternatives in the Isle of Skye. CLIMAVORE.Film courtesy of Jordan Young
Film courtesy of Jordan Young
Film courtesy of Jordan Young
Film courtesy of Jordan Young
Film courtesy of Jordan Young
Film courtesy of Jordan Young
Film courtesy of MASS Design Group
Christian Benimana, MASS Africa Studio lead

‘To be environmentally favourable is to ensure that when dealing with local materials, one is not disassociating them from local skills’

Image courtesy of MASS Design Group, photography by Iwan Baan
Professor of bioregional design

‘At our school we teach people to work with cooked materials rather than just raw ones – the materials that are already in circulation. When we use raw materials they are grown in this bioregion. A lot of the skills we teach are linked to the materials of this place, and that creates its own formal language.’

Proposition 3

Topofacture

Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
Topofacture

Topofacture is a manufacturing approach shaped by place (topos). To achieve this requires not just prototyping new forms of production but building the knowledge and local networks to support it.

Image courtesy of Norhla, photography by Nikki McClarron
Image courtesy of Norlha, photography by Nikki McClarron
Image courtesy of Norlha, photography by Nikki McClarron
Image courtesy of Norlha, photography by Nikki McClarron
Grown Blur. Image courtesy of Boqun Huang
Grown Blur. Image courtesy of Boqun Huang

Prototypes of bioregional manufacture

  1. Dana Lee Brown

    A bespoke fabric designer based in Bowen Island, Canada developing a localised field-to-final-garment system of production, negotiating the challenging supply chain limitations of bioregional practice.

  2. Bombyx

    A silk farm and factory located on the old silk road that builds on centuries of sericultural expertise for regenerative agricultural silk production.

  3. Carmody Groarke

    An architecture practice testing and developing bricks made from construction site waste materials – like concrete, brick and tarmac – along the coastline of East Sussex.

Image courtesy of Dana Lee Brown
Image courtesy of Dana Lee Brown
Display with rock wall through window. Image courtesy of Jeff Close
Image courtesy of Dana Lee Brown
Eileen Fisher production. Image courtesy of Bombyx
Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Rory Allen
Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Romanin and Naceto
Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project.Image courtesy of Rory Allen
Crushed concrete used for production of the Gent Waste Brick; a recycled brick made for the new wing of Design Museum Gent. Image courtesy of Romanin and Naceto
Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Romanin and Naceto
Summer Islam, co-founder Material Cultures

‘Designing bioregionally is currently an aspiration rather than a reality. We have to simultaneously design products and their supporting systems’

Image courtesy of HONOKA, designed by Shinnosuke Harada and Moritaka Tochigi

Topofacture aims to scale within the -shed's carrying capacity. It adapts itself to the available resources in a region rather than introducing disruptive monocultures.

Image courtesy of Atelier LUMA

Instead of industrial standardisation, products might be fabricated using a variety of available materials that are similar but not the same. This flexible approach to source material challenges existing models of mass production and consumer expectations.

Waste marble terrazzo bench top with off cut FRP panels. Image courtesy of Second Edition, photography by Hamish McIntosh

Possible topofactories

  1. Martin Rauch

    An architecture practice that uses mobile factories to process earth composites on site for the construction of rammed earth building projects.

  2. Atelier LUMA

    A bioregional research and production workshop in Arles, France whose premises are built using walls coated with sunflower pith discarded by local sunflower oil producers, naturally crystallised salt cladding from the surrounding flats, and bioplastic tiles charged with algae-based dyes from invasive plant species in the area.

Image courtesy of Markus Bühler
Felt fabric made of recycled Arles Merino wool to cover benches and seats in the Refectory. Image courtesy of Atelier LUMA, photography by Max Féli
Wall of Salt project, Salins de Giraud, France. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
Image courtesy of Atelier LUMA
Image courtesy of Atelier LUMA
-shedfactory employee

‘The factory isn’t just about standardised inputs and outputs, it's about learning to adapt to what this place can offer, so we're constantly learning how to apply our skills in new ways. A factory is more like a school where we grow understanding and exchange knowledge with other -shedfactories around the world’

Proposition 4

Material Resonance

Ecologies of Drawing: In Situ, Cloud Appreciation. Image by Diane Henshaw
Material Resonance

By learning the land that you inhabit, you become familiar with similar landscapes in other places. Design learnings can be shared across sites with material resonance.

Galaad Van Daele, chair of Affective Architectures, ETH Zürich

‘You can observe natural sites that speak of the same geodynamics, and share crafting practices that tap directly into the material predispositions of their regions... All of a sudden central France may resonate strongly with central Italy, even though they are 1,000 kilometres apart.’

Image courtesy of Norlha, photography by KinCoedel

Courses teaching geological and ecological literacy

  1. Geocentric Driftings

    A series of architecture seminars at ETH Zürich lead by the Department of the Ongoing that presents buildings as embedded in the particular material histories and geologies of a place. The aim is to teach material and geological literacy to architects and designers.

  2. Design Ecologies

    A new module at Loughborough University that studies the relationships between all living and non-living entities, fostering interdisciplinary systems design responses to ecological challenges. These responses can be shared across related ecologies.

Limestone deposits, Bagni San Filippo, Tuscany. Image courtesy of Geocentric Drifting
Top: Ecologies of Drawing. Configuration 03, by Mary Yacoob Bottom: Ecologies of Drawing. You Guys Are So Stochastic by Lucy Ward

The industrial model of scaling up is replaced by a bioregional model of proliferating ideas across regions. The designer’s success is measured by the application of their methods across similar -sheds. Scaling out beats scaling up.

Jan Boelen, director Atelier LUMA

‘Materials are heavy and should stay put, but ideas are light and should travel.’

Imagining the future through a piece of landscape, a -shed, is a way of anticipating not just future landscapes but alternative forms of production and social relations – always rooted in the specifics of a place, but connected to many other places.

Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck
Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck

-shedding moves design beyond piecemeal thinking – saving some carbon here or some waste there – to a more fundamental, ecological mode.

Contributors:

Captions:

Contributors:

Adam Bobbette, lecturer in political geology at the School of Geographical and Earth Sciences, University of Glasgow. His books include The Pulse of the Earth: Political Geology in Java.

Billy Fleming, Wilks Family director of the Ian L. McHarg Center at the University of Pennsylvania. His books include Building Post-Carbon Futures (Lincoln, exp 2025), A Blueprint for Coastal adaptation (Island Press, 2021) and Design With Nature Now (Lincoln, 2019).

Calvin Po, strategic design lead at Dark Matter Labs.

Dana Lee Brown, fashion designer, Bowen Island, Canada.

Davide Piscatelli, advanced researcher at Forensic Architecture.

Elise Misao Hunchuck, independent spatial researcher, editor, curator, writer, and educator, Berlin and Milan.

Ella Hubbard, PhD candidate at the University of Sheffield with a specialism on bioregionalism.

Emma Hague, founding director of South West England Fibreshed and Bristol Textile Quarter.

Galaad van Daele, architect and researcher, chair of Affective Architectures, ETH Zürich.

Isabel Carlisle, co-Founder and Creative Director, Bioregional Learning Centre, Devon.

Jan Boelen, director of Atelier LUMA.

Jane Brady, co-founder and creative director, Bioregional Learning Centre, Devon.

John Thackara, writer, adviser, bioregional design expert.

Marco Ferrari, co-founder of Studio Folder.

Paloma Gormley and Summer Islam , co-founders of Material Cultures.

Rafico Ruiz, associate director, research, Canadian Centre for Architecture, Montreál.

Samia Henni, visiting professor, ETH Zürich, author of Colonial Toxicity and editor of Deserts Are Not Empty.

Shahana Rajani, Zahra Malkani and Abeera Kamran, co-founders of Exhausted Geographies, Karachi.

Sharon Prendeville, senior lecturer design innovation, module leader Design Ecologies, Loughborough University.

Tom Ó Caollaí, artist-historian, Bartlett School of Architecture, UCL.

Project team

Cher Potter, creative direction

Jennifer Cunningham, forecast research

Lila Boschet, creative production

Andre Conde Pereira, image research

Studio Airport, art direction

Footnotes:

1 The "Wall of Salt" project team looks back on four years of exploration and collaboration, to enhance the value of the salt resource and the know-how surrounding it. Image courtesy of Atelier LUMA
2 Image courtesy of Norlha, photography by Nikki McClarron
3 Image courtesy of Dana Lee Brown
4 Lithium. Image courtesy of Li-Metal
5 Fibershed Houston Textile Company. Image courtesy of Paige Green
6 Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck
7 Oltre Terra. Image courtesy of Formafantasma, photography by Alessandro Celli
8 Image courtesy of Norlha, photography by Kin Coedel
9 Image courtesy of Norlha, photography by Kin Coedel
10 Image courtesy of Norlha, photography by Kin Coedel
11 Oltre Terra, Turning Wool Into Yarn by Hand. Image courtesy of Formafantasma and Joanna Piotrowska
12 The Saltmarsh Project, Bioregional Learning Centre. Film courtesy of Emilio Mula, nu-frame.co.uk
13 Langtauferer Ferner/Vedretta di Vallelunga in the Ötztal Alps/Alpi Venoste, Summer 1921. From the archives of Istituto Geografico Militare. Image courtesy of Marco Ferrari, Studio Folder
14 The moving border on the Übeltal/Malavalle glacier in the area of Wilder Pfaff/Cima del Prete, 2012. From the archives of Istituto Geografico Militare. Italian Limes. Image courtesy of Marco Ferrari, Studio Folder
15 Installation of the border measurement devices on the Austrian-Italian watershed, Similaun glacier, Ötztal Alps. Italian Limes. Image courtesy of Studio Folder, photography by Delfino Sisto Legnani
16 Aerial View of Military infrastructure in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
17 Aerial View of Light Craft Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
18 Aerial View of Heavy Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
19 The water vapor and aerosols [airborne particles of dust, soot, mold, and bacteria] of Earth's third atmosphere-ocean environment are shown in this full-disk visualization centered above China. Image derived from FY-4A AGRI L1 satellite data set [Fēngyún-4 are China Meteorological Administration’s most recent geosynchronous meteorological satellites]. Prologue to the Sky River. Image courtesy of Marco Ferrari
20 China Western. Image courtesy Carlos Spottorno
21 Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
22 Image courtesy Observatoire des armements, photography by Bruno Barrillot
23 MEXUS: Geographies of Interdependence, 2018. Image courtesy of Estudio Teddy Cruz + Fonna Forman
24 Aerial View of Military infrastructure in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places
25 Image courtesy of Material Cultures
26 Contact Waste materials assembled by mycelium. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
27 Think Differently about Water, Accelerate Resilience. Image courtesy of Los Angeles and Spherical, directed by John Pavlus, VFX by Almost Human Media
28 Tactile Afferents, 2022. Image courtesy of Formafantasma and Joanna Piotrowska, commissioned and co-produced by The National Museum of Norway, co-produced by Fondazione In Between Art Film, creative producer Alessandro Rabottini, stills from movie
29 Learning from Kilburn. Developed and directed by Tom Ó Caollaí, commissioned by Spacemakers, in collaboration with OK-RM and Pernilla Ohrstedt Studio. The project was funded by the London Boroughs of Brent and Camden. Photography by Theo Simpson
30 Aerial View of Heavy Industry in Kuwait's hinterland. Image courtesy of Yousef Awaad Hussein, Saphiya Abu Al-Maati, Asaiel Al Saeed, Aseel AlYaqoub in collaboration with Atlas of Places.
31 Image courtesy of Atelier LUMA
32 Image courtesy of Atelier LUMA
33 Image courtesy of Atelier LUMA
34 Image courtesy of Atelier LUMA
35 The Nebelivka Hypothesis. Image courtesy of Forensic Architecture
36 Image courtesy of Forensic Architecture
37 The Nebelivka Hypothesis. Image courtesy of Forensic Architecture
38 Of Struggle Website. Image courtesy of Exhausted Geographies
39 Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
40 Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
41 Restaging Temporalities, Monsoon Stories from the Kampung, River, and TOWER. Image courtesy of dll. collective
42 Public Map Platform, Cambridge University. Image courtesy of Piers Taylor and Owen Pierce
43 Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
44 The Nebelivka Hypothesis. Image courtesy of Forensic Architecture
45 Image courtesy of Russ Rizzo and Cal Neva Mineral Co
46 Image courtesy of Oleg Lopatkin
47 Image courtesy of Ellen Stewart
48 Power plant in the Mojave desert. Image courtesy of Balazs Gardi
49 Image courtesy of Firdaus Latif
50 LPG (Liquid Petroleum Gas) storage tank at a natural gas processing plant, belonging to Bonavista Petroleum, near Carstairs, Alberta on July 18, 2015. Image courtesy of Larry MacDougal
51 Image courtesy of Modvion
52 Dirty chair N.4, Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
53 Dirty chair N.5, Back to Dirt. Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
54 Image courtesy of Aléa, Miriam Josi and Stella Lee Prowse
55 Left: Constructive Land, Unit 3 (2022), MArch: UAL. Image courtesy of Material Cultures, photography by Zahra Badaoui, Elise Blackmore and Leo Hui Right: Forestry England's Dalby Forest in Yorkshire. Image courtesy of Material Cultures
56 Image courtesy of Pascal Broze
57 Image courtesy of Rotor DC
58 Image courtesy of Rotor DC
59 Image courtesy Cooking Sections
60 Uig Re-Commoning The Coast Workshop, CLIMAVORE CIC, Isle Of Skye, 2022. Image courtesy Cooking Sections, photography by Jordan Young
61 Building Economic Alternatives in the Isle of Skye. CLIMAVORE.Film courtesy of Jordan Young
62 Film courtesy of Jordan Young
63 Film courtesy of Jordan Young
64 Film courtesy of Jordan Young
65 Film courtesy of Jordan Young
66 Film courtesy of Jordan Young
67 Film courtesy of MASS Design Group
68 Image courtesy of MASS Design Group, photography by Iwan Baan
69 Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
70 Image courtesy of Norhla, photography by Nikki McClarron
71 Image courtesy of Norlha, photography by Nikki McClarron
72 Image courtesy of Norlha, photography by Nikki McClarron
73 Image courtesy of Norlha, photography by Nikki McClarron
74 Grown Blur. Image courtesy of Boqun Huang
75 Grown Blur. Image courtesy of Boqun Huang
76 Image courtesy of Dana Lee Brown
77 Image courtesy of Dana Lee Brown
78 Display with rock wall through window. Image courtesy of Jeff Close
79 Image courtesy of Dana Lee Brown
80 Eileen Fisher production. Image courtesy of Bombyx
81 Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Rory Allen
82 Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Romanin and Naceto
83 Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project.Image courtesy of Rory Allen
84 Crushed concrete used for production of the Gent Waste Brick; a recycled brick made for the new wing of Design Museum Gent. Image courtesy of Romanin and Naceto
85 Testing the use of seaweed in low carbon bricks for the Design Enterprise, Future Observatory research project. Image courtesy of Romanin and Naceto
86 Image courtesy of HONOKA, designed by Shinnosuke Harada and Moritaka Tochigi
87 Image courtesy of Atelier LUMA
88 Waste marble terrazzo bench top with off cut FRP panels. Image courtesy of Second Edition, photography by Hamish McIntosh
89 Image courtesy of Markus Bühler
90 Felt fabric made of recycled Arles Merino wool to cover benches and seats in the Refectory. Image courtesy of Atelier LUMA, photography by Max Féli
91 Wall of Salt project, Salins de Giraud, France. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
92 Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
93 Transforming salt into a material of architectural scale. Image courtesy of Atelier LUMA, photography by Adrian Deweerdt
94 Image courtesy of Atelier LUMA
95 Image courtesy of Atelier LUMA
96 Ecologies of Drawing: In Situ, Cloud Appreciation. Image by Diane Henshaw
97 Image courtesy of Norlha, photography by KinCoedel
98 Limestone deposits, Bagni San Filippo, Tuscany. Image courtesy of Geocentric Drifting
99 Top: Ecologies of Drawing. Configuration 03, by Mary Yacoob Bottom: Ecologies of Drawing. You Guys Are So Stochastic by Lucy Ward
100 Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck
101 Tsunami stone markers, An Incomplete Atlas of Stones. Image courtesy of Elise Hunchuck