Sam Jacoby

Housing associations play a central role in defining, maintaining, and improving the design quality of new affordable homes. Their decisions are informed by national standards, internal development standards, funding requirements, procurement routes, resident needs, long-term management, and organisational priorities. 

This event brings together speakers from housing associations to discuss what “good” design looks like in practice, how it is defined and measured, how key design-quality decisions are made, and what needs to change to achieve better housing quality in the future. 

Speakers
: Carla Smyth, Head of Design at Peabody 
: David Stronge, Design Director at Peabody 
: Eleanor Warwick, Head of Strategic Policy and Research at Clarion Housing Group 
: Tessa Barraclough, Assistant Director: Asset Strategy and Sustainability at Riverside 
: Dhruv Sookhoo, Senior Lecturer in Architecture and Urbanism, Manchester School of Architecture 
: Sam Jacoby, Professor of Architectural and Urban Design Research, RCA

Lecture Theatre 1, Darwin Building, Royal College of Art, Kensington Gore, London SW7 2EU

What Makes a Good Home? Design Governance in Social Housing

Jon Goodbun

“I do not believe that the original purpose of the rain dance was to make ‘it’ rain. I suspect that that is a degenerate misunderstanding of a much more profound religious need: to affirm membership in what we may call the ecological tautology, the eternal verities of life and environment”
Gregory Bateson

This paper was given as an invited Keynote talk at the Enabling Boundaries conference in Oldenburg Germany, in June 2026. It is an iteration of one of three chapters in the forthcoming book on Gregory Bateson, Architecture and Design which is the final deliverable from the AHRC funded research project on Enacting Gregory Bateson’s Ecological Aesthetics in Architecture and Design. 

This paper develops the idea of eco-surrealism as a way of thinking about ecological design, learning and imagination under conditions of crisis. 
The paper begins from a familiar problem: modern architectural, design and planning cultures have often been shaped by instrumental reason, technical optimisation and fantasies of control of human and more-than-human environments. However, the ecological crises that we face are not simply technical problems which can be solved with design solutions. The crises we perceive are symptoms of deeper patterns of perception, habit and organisation. They reveal how ‘purpose’ itself can become pathological – even the well-intentioned purposes of progressive social movements and environmental activists.

This becomes especially clear when we ask what it means to plan under conditions of uncertainty. Climate change, rising social inequality and intensifying class war, resource scarcities and stresses and ecological degradation do not present us with a single predictable future, or even a gradation of possible futures as suggested in some readings of the future scenarios presented in UN IPCC reports. Rather, they produce branching and unstable futures, where multiple tipping points describe probability landscapes of enormous complexity. The UK for example should now be planning for contradictory futures of both significant warming and significant cooling (as global warming appears to be shutting down the AMOC system). Similarly, at a global scale we need to plan for both a growing human population, but also one which may collapse by 50% within the next decade, given increasing probabilities of global food production collapse.

The task of design is therefore not simply to optimise a solution for one assumed or desired future, but to work carefully across multiple possible futures, understanding that designs and plans themselves might well may have unforeseen effects, delayed consequences or contradictory outcomes at different scales. Critical future scenario thinking becomes important here as an ecological and imaginative worlding or geopoietic practice: a way of holding open different possibilities, testing assumptions, and learning how to perceive how present actions might unfold within changing circumstances.

Drawing on Gregory Bateson, the paper asks what it would mean to design from within these double binds rather than pretending to stand outside them. Bateson’s work helps us understand ecological crisis as a crisis of learning: a failure to perceive the ‘pattern which connects’, and a tendency to confuse parts with wholes, maps with territories, and short-term fixes with systemic wisdom. His account of levels of learning is central here. Ecological design cannot remain at the level of problem-solving alone. It must also question the frames through which problems are recognised, the habits through which solutions are imagined, and the forms of life that design helps to reproduce.

The ‘surrealist’ dimension of the paper does not mean escapism or irrationality. Rather, it names the importance of chance, dream, play, juxtaposition and non-instrumental practice in breaking open hardened patterns of thought. Historical surrealism sought to disturb the habits of bourgeois reason and reveal other orders of association beneath everyday life, in an attempt to combine Marx and Freud. Eco-surrealism I suggest, must extend Freud with a Batesonian model of an extended ecological unconscious, and suggests new forms of totemistic empathy. It asks what kinds of design practices and rituals might become more receptive to the unexpected, the more-than-human, and forms of intelligence that exceed conscious planning.

In this sense, eco-surrealism is also a critique of the impoverishment produced by private property, instrumental reason and capitalist forms of abstraction. Marx’s remark that private property has made us ‘so stupid and one-sided’ becomes ecological: we have been trained to perceive the world primarily as resource, commodity or object of management. Against this, eco-surrealism seeks practices that reawaken and transform perception, empathy and responsiveness. It does not reject technique or planning, but places them within a wider ecology of signs, affects, atmospheres, relations and unknowns.

The paper connects these theoretical concerns to my recent work on urban heat, air pollution and evaporative cooling in Athens. The Towers of Winds project explores how architectural prototypes might operate not simply as technical devices, but as public, pedagogical and sensory infrastructures. Heat and pollution are not only measurable environmental conditions; they are also signs through which urban inequalities, atmospheric dependencies and collective vulnerabilities become perceptible. Citizen sensing, public installation, film and experimental making can therefore become part of a broader ecological learning process.

The significance of the above Bateson quote concerning the raindance is difficult to overstate. Bateson is not defending magical thinking as a primitive form of technical control. He is doing the opposite. He is suggesting that the modern assumption that a rain dance must be a failed technology for producing rain is itself the degraded perception. The instrumental interpretation misses the ecological and social function of the ritual. The point is not to command the weather, but to affirm participation in the more-than-human relations within which weather, life, food, seasonality and collective existence are entangled.

This offers a crucial model for eco-surrealist practice. A non-instrumental rain dance is not useless because it does nothing. It is useless only from the standpoint of a damaged utilitarianism, which recognises value only where a discrete means produces a discrete end. From an ecological perspective, such a practice may be profoundly useful precisely because it does not reduce the world to an object of intervention. It reorganises perception, situates action within relation, and affirms dependency upon systems that cannot be mastered.

Eco-surrealism, then, is a proposal for a different mode of ecological imagination and perception: one that combines critical theory, systems thinking, experimental design, scenario thinking and poetic practice. It suggests that in a time of climate emergency, we need not only better instruments, but stranger and wiser forms of attention.

I hear Bateson challenging us to imagine and practice a rain dance appropriate to our socio-ecological condition today: a rain dance of such staggering multidimensional uselessness that it might just save us.

Keynote: Ecological Planning in Therapy—Notes towards an Eco-Surrealist Manifesto for Uncertain Times

Ines Weizman

In this lecture Ieva Saudargaite Douaihi traces her long-term artistic and architectural engagement with the city of Beirut. Bringing together years of photographic documentation and material research, the talk reflects on practices of attentive looking—before and after rupture—within a landscape shaped by layered histories and ongoing instability. Moving between image-making and spatial thinking, Douaihi examines how Beirut’s urban fabric, as well as villages across Lebanon, bear the marks of destruction, endurance, and transformation. Her photographs unfold as both a personal and critical meditation on witnessing: on the difficulty of seeing amid loss, and on the role of artistic practice in holding memory, absence, and the fragile possibility of renewal.

Ieva Saudargaite Douaihi is a transdisciplinary artist working at the intersection of photography, architecture, and material research. Rooted in an ongoing exploration of vernacular landscapes, memory, and overlooked ecologies, her practice spans image-making, spatial interventions, and hybrid objects composed of found objects, natural matter and household materials. Drawing on her background in architecture and a deep sensitivity to ecological and social entanglements, she engages with overlooked spaces and slow processes of growth, decay, and adaptation. Douaihi studied architecture at the Lebanese American University in Byblos and École Spéciale d’Architecture in Paris; she grew up between Lithuania, the United Arab Emirates and Lebanon. In 2022, she established Takeover, an artist-led project space in Beirut. She is also a member of the Lebanese photography collective Collectif ١٢٠٠ In 2021, she co-founded Digital Fountain, an online platform for photography from Lebanon. In 2021, she received the Boghossian Foundation Award for photography and the ADPP mentorship award.

BEIRUT. Seeing Before. Looking After. Ieva Saudargaite Douaihi

The screening is followed by a conversation with director Max Duncan and Emilio Distretti, Mark Campbell, and Ines Weizman

When a massive Chinese industrial park lands in rural Ethiopia, a dusty farming town finds itself at the new frontier of globalisation. The sprawling factory complex’s formidable Chinese director Motto now needs every bit of mettle and charm she can muster to push through a high-stakes expansion that promises 30,000 new jobs. Ethiopian farmer Workinesh and factory worker Beti have staked their futures on the prosperity the park promises. But as initial hope meets painful realities, they find themselves, like their country, at a pivotal crossroads.

Filmed over four years with singular access, *Made in Ethiopia* lifts the curtain on China’s historic but misunderstood impact on Africa, and explores contemporary Ethiopia at a moment of profound crisis. The film throws audiences into two colliding worlds: an industrial juggernaut fueled by profit and progress, and a vanishing countryside where life is still measured by the cycle of the seasons. Its nuance, complexity and multi-perspective approach go beyond black-and-white narratives of victims and villains. As the three women’s stories unfold, Made in Ethiopia challenges us to rethink the relationship between tradition and modernity, growth and welfare, the development of a country and the well being of its people.

Bios
: Xinyan Yu is an award-winning journalist and filmmaker based in Washington, DC. Born and raised in Wuhan, China, Xinyan started her journalism career in 2012 working as a producer for BBC News in Beijing. She has covered major breaking news across Asia and North America for a decade. Now an independent filmmaker, Xinyan has directed and produced content for international broadcasters including BBC, NHK, PBS NOVA, PBS Frontline and Channel News Asia. She is a New America National Fellow, a Firelight Media Doc Lab fellow, a Brown Girls Doc Mafia Sustainable Artist fellow and an alumnus of the Yaddo Residency. *Made in Ethiopia* is her feature documentary debut.
: Max Duncan is an award-winning filmmaker, cinematographer and journalist whose work has appeared on platforms including the BBC, PBS, The Guardian, The New York Times and Al Jazeera and screened at major international festivals. He worked for a decade in China, first for Reuters news agency in Beijing and then independently, and has reported widely across Asia (including multiple trips to North Korea), Africa, Europe and Latin America. Max has received recognition including a World Press Photo Award, been supported by organizations including Pulitzer, and is an alumnus of Yaddo and Logan Nonfiction programs. His first feature documentary, *Made in Ethiopia*, was awarded the Special Jury Mention at Tribeca Festival 2024.

Made in Ethiopia screening with director Max Duncan

### EXHIBITION PART 1: HOUSING STANDARDISATION IN SIX COUNTRIES

What does a typical home in England look like? How does it compare to housing in other countries? How are these homes designed? And what is it like to live in them?

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Based on a three-year study of recently built affordable and subsidised housing in England, Chile, China, the Netherlands, Spain, and Switzerland, this exhibition explores these questions through 37 in-depth case studies that document typical homes and the lived experiences of their residents.

The exhibition shows how design governance processes, regulatory approaches, housing markets, and social and cultural norms shape housing expectations, perceptions, standards, and the types and quality of housing that are built. The exhibition examines the role of design governance and design regulations and standards, with a particular focus on space standards as a measure of housing design quality. It investigates why these standards are often contextual and subjective rather than universal, and how they inform designdecisions. It also questions the effectiveness and underlying motivations of these standards, asking whether they genuinely improve – or simply standardise – the way we live.

As affordable housing is frequently built at scale using standardised dwelling types and construction methods, it is often more shaped by regulations and standards than by architects. As a result, it commonly relies on established house types used by volume housebuilders and housing associations. The exhibition explores what “well-designed”, “housing quality”, and “affordable housing” mean to different housing stakeholders — especially residents — highlighting how these definitions and perceptions are deeply contextual.

### EXHIBITION PART 2: HOUSING STANDARDISATION IN THE NORTH EAST OF ENGLAND

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This part of the exhibition explores how architectural practices and their clients use housing standardisation to achieve quality and affordable housing in the North East of England. Case studies of current housing projects in the region reveal how house types and related design guidance — produced by architects and their clients — are adapted during the design and development process to meet mandatory national standards and their local interpretations, promote voluntary good-practice standards, and respond to local context and housing markets.  

This exhibition and related event series form part of an ongoing research project that seeks to understand how architects and housing associations contribute to housing quality and develop design expertise through shared design practice and participation in design governance.
 
----

Part 1: Project Team
Sam Jacoby (RCA), Alvaro Arancibia (PUC Chile)
Lucia Alonso (RCA), Seyithan Ozer (RCA), Consuelo Albornoz (PUC Chile)
 
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Part 2: Project Team
Dhruv Sookhoo (MSA), Sam Jacoby (RCA)

Housing Standardisation Exhibition

This workshop brings together doctoral students and two editors of the European Review of Books (ERB), a magazine of culture and ideas published in print and online, in English and in writers’ own tongues. Since the publication of its first issue in June 2022, the ERB has championed essayistic writing in many forms—fiction, travelogue, provocation, parody, poetry, and hybrid texts that resist the narrowness of opinion and the flattening of ideas.

The workshop is conceived as a space for doctoral researchers to reflect on writing beyond the conventions of academic prose. It explores how research can circulate in essayistic, narrative, and experimental forms without sacrificing intellectual rigor. Drawing on examples from the ERB, the editors will discuss editorial practices, questions of form, and the transformation of scholarly work for wider, non-specialist publics.

A central concern of the ERB—thickening the European intellectual atmosphere—also frames the workshop. “Europe” here is understood neither as nostalgia nor as a fixed horizon, but as a contingent space of thought, language, and encounter. Participants will be invited to consider how writing can move beyond national, metropolitan, and disciplinary boundaries, and how productive forms of dissonance, disagreement, and “good disharmony” can be cultivated. Particular attention will be given to the ERB’s trans-linguistic editorial model. Publishing texts both in English and in a writer’s mother tongue, the magazine treats English as an ironic lingua franca: pervasive, enabling, and problematic. The workshop will address questions of language, translation, and untranslatability, asking what it means to write research in English today and how multilingualism might be activated rather than smoothed over.

The workshop with Fernanda Eberstadt and Sander Pleij will combine discussion, close reading, and collective reflection on participants’ own writing projects, whether published, unpublished, or in progress.

Bios
: Fernanda Eberstadt was born in New York City in 1960. She graduated from Oxford University with a First Class Degree in English Language and Literature. She has published five novels and one non-fiction book about her friendship with a family of Rom musicians in Southern France. She writes cultural criticism for publications including The New York Times Magazine, The New Yorker, The London Review of Books, Vogue, Frieze, Salon, Granta, and Literary Hub, and is an editor at large for the European Review of Books. Her books have been translated into fourteen languages. She lives in France
: Sander Pleij is a literary writer and author who worked for ten years at De Groene Amsterdammer and ten years at Vrij Nederland. He has won several journalism awards. He is one of the three founders of The European Review of Books.

This event is part of the Documentary Research & Writing Seminars .

Pitching: The European Review of Books

Gem Barton

Joshua Mardell

[Monika Bielskyte](https://www.instagram.com/monikabielskyte/?mc_cid=e8aa7620ce&mc_eid=f35a9e0823)
Royal College of Art
Kensington
Lecture Theatre 1

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“Queer Futures” is the third and final instalment of the Queer x Time series. Join us in welcoming Monika Bielskyte, futurist, speculative designer, and founder of [Protopia Futures](https://www.instagram.com/protopiafutures/?mc_cid=e8aa7620ce&mc_eid=f35a9e0823).

Monika Bielskyte’s research challenges the determinism of both dystopian and utopian narratives. Instead, she opens a pathway toward protopias — future visions that are truly inclusive and actually livable. Her foresight practice is informed by hope yet firmly anchored in contextual, complex human and environmental realities on the ground, rather than one-size-fits-all techno-solutionism, prone to short-term hype cycles and rapid obsolescence.

Monika’s lecture will explore how moving towards life-centric design, being disability and neurodivergence inclusive, and queering of futures expands possibilities & benefits for most of us in the long term.

[>>>RSVP](https://www.eventbrite.co.uk/e/queer-x-time-queer-futures-tickets-885444627717?aff=oddtdtcreator&mc_cid=e8aa7620ce&mc_eid=f35a9e0823)

QUEER X TIME: Queer Futures

[Jessica Hughes](https://profiles.open.ac.uk/jessica-hughes?mc_cid=e8aa7620ce&mc_eid=f35a9e0823), [Eva Mol](https://www.york.ac.uk/archaeology/people/eva-mol/?mc_cid=e8aa7620ce&mc_eid=f35a9e0823), [Philip Ursprung](https://aap.cornell.edu/people/philip-ursprung?mc_cid=e8aa7620ce&mc_eid=f35a9e0823), [Joanna Paul](https://profiles.open.ac.uk/joanna-paul?mc_cid=e8aa7620ce&mc_eid=f35a9e0823)
10:00 - 20:30
Goethe Institut, 50 Princes Gate, Exhibition Road

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This series of panel discussions brings together archaeologists, theorists, artists and architectural practitioners to reflect on archaeological sites that at certain moments in time have revealed a particular laboratory or theatrical field of analysis that mediates micro- and macro-history, from the microscopic detail of materials to the problem of global climate change.

The event of archaeology refers to the event of discovery: an artefact or an archaeological field is revealed through natural processes, large-scale engineered extraction projects, or through new insights and research. It also comprises the moment of preserving and manufacturing replicas and imitations of artefacts, with or without the impact of war or violent conflict on archaeological sites. In such situations, artefacts and architecture are precariously revealed within political and economic frameworks that disguise their interests behind concerns for climate action.
 
This is part of the Event of Archaeology series and the agenda for this event can be found here. Organised by Ines Weizman and Research Students of the MPhil/PhD Programme.

Please kindly confirm your availability by signing up on the Eventbrite link. We will not be streaming this session on Zoom.

[>>>RSVP](https://www.eventbrite.co.uk/e/the-event-of-archaeology-pompeii-volcanic-geography-tickets-808853712227?aff=oddtdtcreator&mc_cid=e8aa7620ce&mc_eid=f35a9e0823)

The Event of Archaeology: Pompeii and Volcanic Geography

[Prinx Silver](https://www.friendsjoinersarms.com/?mc_cid=cbf128a1d1&mc_eid=f35a9e0823), [Alex Eisenberg](https://alexeisenberg.com), [Nadine Noor](https://www.pxssypalace.com/?mc_cid=cbf128a1d1&mc_eid=f35a9e0823)
Royal College of Art, Kensington
Senior Common Room (Floor 3), Darwin Building

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QUEER X TIME is a three-part public event series hosted by the School of Architecture at the Royal College of Art. Celebrating queerness and its relationship with space and the built environment across time, it aims to address the marginalisation of queer experience in the discipline.

“Queer Present” celebrates the plurality and politics of queer nightlife in London. [Alex Eisenberg](https://alexeisenberg.com) will discuss London’s queer Jewish night Buttmitzvah and The Rimmers, who host the night. Prinx Silver, a drag king, DJ and community organiser will discuss his work with [Friends of the Joiners Arms](https://www.friendsjoinersarms.com/?mc_cid=cbf128a1d1&mc_eid=f35a9e0823) working to open a community-run queer venue. Nadine Noor, DJ and cultural producer, will discuss [Pxssy Palace](https://www.pxssypalace.com/?mc_cid=cbf128a1d1&mc_eid=f35a9e0823), a night they founded that centres BIPOC women, femmes and nonbinary people and is committed to creating safe spaces.

This event will take place in the RCA’s South Kensington Campus, Darwin Building, Senior Common Room.

[>>>RSVP](https://www.eventbrite.co.uk/e/queer-x-time-queer-present-tickets-853555967877?aff=oddtdtcreator&mc_cid=cbf128a1d1&mc_eid=f35a9e0823)

QUEER X TIME: Queer Present

[Ingrid Halland](https://pgr.rca-architecture.com/people/ingrid-halland?mc_cid=aae1625c45&mc_eid=f35a9e0823), [Marte Johnslien](https://pgr.rca-architecture.com/people/marte-johnslien?mc_cid=aae1625c45&mc_eid=f35a9e0823), [Adam Lowe](https://pgr.rca-architecture.com/people/adam-lowe?mc_cid=aae1625c45&mc_eid=f35a9e0823)
10:30am – 8:30pm
Royal College of Art, Kensington
Lecture Theatre 1, Darwin Building

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This series of panel discussions brings together archaeologists, theorists, artists and architectural practitioners to reflect on archaeological sites that at certain moments in time have revealed a particular laboratory or theatrical field of analysis that mediates micro- and macro-history, from the microscopic detail of materials to the problem of global climate change.
* 'Titanium Dioxide: An Arts-Based Archeology of an Unsettling Pigment' by Ingrid Halland & Marte Johnslien
* 'Recording, Replication and Return: A Revolution in Heritage Preservation' by Adam Lowe
* Screening of 'Mindful Hands' Dir. Adam Lowe and Luke Tchalenko, Factum Arte, 2017

This is part of The Event of Archaeology series and the details for this event can be found here.

Please kindly confirm your availability by signing up here. We will not be streaming this session on Zoom.
[
>>>RSVP](https://www.eventbrite.co.uk/e/the-event-of-archaeology-colour-investigations-reparation-tickets-808845818617?aff=oddtdtcreator&mc_cid=aae1625c45&mc_eid=f35a9e0823)

The Event of Archaeology: Colour Investigations & Reparation

6:30pm – 8:30pm
Royal College of Art, Battersea
Rausing Tower Event Space 3/Terrace - 7th Floor (RAU.07.003)

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[Max de Esteban](https://pgr.rca-architecture.com/people/max-de-esteban?mc_cid=340f97f295&mc_eid=f35a9e0823) is an artist working mostly in photography and video whose work is best known for his examination of the human condition under a technological regime.

His projects have been exhibited at museums and institutions such as Jeu de Paume in Paris, MUAC in Mexico, NRW-Forum in Dusseldorf, Museum of Fine Arts in Houston, Deutsche Technik Museum in Berlin, Virreina Centre de l’Imatge in Barcelona, CGAC in Santiago de Compostela and Palais de Tokyo in Paris. Max participated in the Yokohama Triennale (2020); XIII Cairo Biennial (2019); XIII Bienal de la Habana (2019); XVI Fotofest Biennial (2016) and Darmstädter TdF Triennial (2014). His work has been the subject of five monographs: Estética de la Extinción (Turner); Twenty Red Lights (Virreina/La Fábrica); Propositions (La Fábrica); Heads will Roll (Hatje Cantz) and Elegies of Manumission (Nazraeli Press) and is part of museums’ collections such as Museum of Fine Arts Houston, Staatliche Museen zu Berlin, SEDF in Bratislava, Deutsche Technik Museum in Berlin, CGAC in Santiago de Compostela, Wifredo Lam in La Habana and MACBA in Barcelona. Max is a Fulbright alumnus and received a PhD in Economics and Business from Universitat Ramon Lull, an MBA from Stanford University and a MSc and BSc in Engineering from Universitat Politecnica de Catalunya.

This is part of The Event of Archaeology series and the agenda for this event can be found [here](https://pgr.rca-architecture.com/event/manufacturing-histories-extraction?mc_cid=340f97f295&mc_eid=f35a9e0823).

Please kindly confirm your availability by signing up here. We will not be streaming this session on Zoom.

>>>RSVP

The Aesthetics of Extraction, or Colour Pigments Extinct

[Frederika Tevebring](https://pgr.rca-architecture.com/people/frederika-tevebring?mc_cid=340f97f295&mc_eid=f35a9e0823), [Nelson Crespo](https://pgr.rca-architecture.com/people/nelson-crespo?mc_cid=340f97f295&mc_eid=f35a9e0823),[Colleen Morgan](https://pgr.rca-architecture.com/people/colleen-morgan?mc_cid=340f97f295&mc_eid=f35a9e0823), [Marisa Musing](https://pgr.rca-architecture.com/people/marisa-musing?mc_cid=340f97f295&mc_eid=f35a9e0823)
10:00am – 5:00pm
Royal College of Art, Kensington
DAR120, Darwin Building

---

This series of panel discussions brings together archaeologists, theorists, artists and architectural practitioners to reflect on archaeological sites that at certain moments in time have revealed a particular laboratory or theatrical field of analysis that mediates micro- and macro-history, from the microscopic detail of materials to the problem of global climate change.

The event of archaeology refers to the event of discovery: an artefact or an archaeological field is revealed through natural processes, large-scale engineered extraction projects, or through new insights and research. It also comprises the moment of preserving and manufacturing replicas and imitations of artefacts, with or without the impact of war or violent conflict on archaeological sites. In such situations, artefacts and architecture are precariously revealed within political and economic frameworks that disguise their interests behind concerns for climate action.

This is part of The Event of Archaeology series and the agenda for this event can be found [here](https://pgr.rca-architecture.com/event/manufacturing-histories-extraction?mc_cid=340f97f295&mc_eid=f35a9e0823).

Please kindly confirm your availability by signing up here. We will not be streaming this session on Zoom.

[>>>RSVP](https://www.eventbrite.co.uk/e/the-event-of-archaeology-manufacturing-histories-extraction-tickets-807634525607?aff=oddtdtcreator&mc_cid=340f97f295&mc_eid=f35a9e0823)

The Event of Archaeology: Manufacturing Histories & Extraction

[Anjum Mouj](https://queerbritain.org.uk/our-team?mc_cid=5bf6ebc72b&mc_eid=f35a9e0823), [Shola von Reinhold](https://www.instagram.com/princessa_mangione_iii_/)
Royal College of Art
Kensington
Darwin LT1

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QUEER X TIME is a three-part public event series hosted by the School of Architecture at the Royal College of Art. Celebrating queerness and its relationship with space and the built environment across time, it aims to address the marginalisation of queer experience in the discipline.

“Queer Pasts" centres on queer representation in archives. [Anjum Mouj](https://queerbritain.org.uk/our-team?mc_cid=5bf6ebc72b&mc_eid=f35a9e0823), a Trustee of Queer Britain, will discuss London’s first museum of British LGBTQIA+ history and culture. The novelist [Shola von Reinhold](https://www.instagram.com/princessa_mangione_iii_/) will discuss her novel Lote (2020) which charts the central protagonist’s preoccupation with a forgotten Black Scottish modernist poet.

All events will take place in the RCA’s South Kensington Campus, Darwin Building, Lecture Theatre 1. Open to all.

RCA School of Architecture Research

Events

What Makes a Good Home? Design Governance in Social Housing (3 Jul. 2026, 2:30pm)

Keynote: Ecological Planning in Therapy—Notes towards an Eco-Surrealist Manifesto for Uncertain Times (5 Jun. 2026, 3:00pm)

BEIRUT. Seeing Before. Looking After. Ieva Saudargaite Douaihi (16 Apr. 2026, 5:00pm)

Made in Ethiopia screening with director Max Duncan (3 Mar. 2026, 4:00pm)

Housing Standardisation Exhibition (18 Feb.–18 Dec. 2026, 6:00pm)

Pitching: The European Review of Books (29 Jan. 2026, 10:00am)

QUEER X TIME: Queer Futures (23 May 2024, 5:00pm)

The Event of Archaeology: Pompeii and Volcanic Geography (9 May 2024, 9:00am)

QUEER X TIME: Queer Present (21 Mar. 2024, 6:00pm)

The Event of Archaeology: Colour Investigations & Reparation (29 Feb. 2024, 10:30am)

The Aesthetics of Extraction, or Colour Pigments Extinct (8 Feb. 2024, 6:30pm)

The Event of Archaeology: Manufacturing Histories & Extraction (8 Feb. 2024, 10:00am)

QUEER X TIME: Queer Pasts (24 Jan. 2024, 6:00pm)