Working at the intersection of architecture and other related fields, LINA is a Europe-wide network of institutions. Its fellowship programme promotes emerging thinkers and practitioners who would address the environmental crisis, its ethical and social implications. In this conversation, LINA fellows — including George Guledani, Margarida Waco, Jade Apack, the groups Studio ACTE, DOING.pt and FFRU — share their reflections on cycles of transformation.
This article is one of a series featuring reflections from the current cohort of LINA Fellows. You can read more from the other fellows here, and learn more about the LINA community here.
FEDERICA ZAMBELETTI / KOOZ This first question is for all of you. What is the potential in thinking through cycles of transformation?
GEORGE GULEDANI Thinking through cycles of transformation allows us to perceive change as an integral and recurring process, revealing patterns of growth, decline, and renewal. This perspective fosters resilience by highlighting the potential for recovery and adaptation, while also deepening our understanding of interconnected systems and long-term consequences. It encourages a holistic approach to problem-solving, acknowledging that transformation is not just disruption but an opportunity for innovation and renewal. Additionally, cycles can offer rich cultural, historical, and creative insights, providing a valuable framework for understanding and navigating the complexities of life.
"Thinking through cycles of transformation allows us to perceive change as an integral and recurring process, revealing patterns of growth, decline, and renewal."
- George Guledani
FFRU Within the context of Foodscapes, thinking through cycles of transformation allows us to view the food system as an architecture of interconnected, evolving structures. This approach challenges how we operate, analysing past and present systems and their architectures to envision future models that feed the world sustainably, exploring intricate and often hidden urban and ecological systems.
JADE APACK Time. Reflecting on cycles of transformation invites us to consider different time scales and the lasting impact of our brief actions in contrast to the vast, slow processes required for a resource to complete its biogeochemical cycle. Gaining awareness of how phenomena are interconnected over time can help reframe the anthropocentric perspective.
STUDIO ACTE Inspired by vernacular practices, the reuse of existing and ordinary components from deconstruction embraces material stories, life cycles and craftsmanship to foster resilient architectures. This approach challenges conventional extractivist and consumption-driven models, offering sustainable alternatives that align with the use of local and available resources, while inspiring renewed circular practices.
DOING.PT Thinking through cycles of transformation allows us to see beyond our own existence at this specific moment and to understand the world as a closed environment that needs to be cared for. At the same time, we start to talk about true sustainability, which is far from the now-normalised rhetoric of “green washing”.
Still. 5.5706° S, 12.1976° E Sedimentary Myths. La Biennale 2023. Margarida Waco
KOOZCosmic Undergrounds unfolds as a material exploration of territorial transformations and the ecological emergency at a planetary scale. How does this project continue your investigation into the relationship between extractivism and the production of space?
MARGARIDA WACOIt’s true that Cosmic Underground builds upon my longstanding research around material epistemologies, and how the material foundations of our society reflect the alterability of terrestrial and watery bodies often sacrificed at the altar of ‘progress’, ‘development’ and profit. The iteration presented at the 18th Venice Architecture Biennale — titled Sedimentary Myths — attempted to unpack entangled histories of colonialism, racial capitalism, and extractivism rooted in my native locale, Cabinda, through cartography, archival research, and new footage. This is a body of work that holds a central place in my practice across PhD research, teaching, writing, and design work.
"From a broader perspective, extractivism per se can be attributed to a system that is put in place to extract maximum value from bodies – both human and nonhuman – whilst holding profit as its core value."
- Margarida Waco
From a broader perspective, extractivism per se can be attributed to a system that is put in place to extract maximum value from bodies – both human and nonhuman – whilst holding profit as its core value, continuing to pose imminent threats to our ecology of existence. In the light of this, the engagement with a handful of LINA members over the past year, continued this line of thinking in myriad ways. Firstly, through a residency with Theatrum Mundi that culminated into an examination of the protocols, logics and actors driving the urban transformation of Paris, where the emergence of infrastructure space and a mega event seem to be the justification to break communities and unmake geographies in and around Saint Denis. Secondly, the exhibition ‘Commission on Circularity’ — expertly curated by Copenhagen Architecture Festival — challenged me in terms of how I might conceive of archives, to make tangible the material economies of architecture. Through expanded vocabularies and seminal lexical episodes, I went onto assembling fragments of texts that interweave threads of critical theory, Black feminism and critical geography to expand our inquiries beyond the singular ways of seeing, sensing and knowing that historically have governed and shaped the discipline of architecture. All this is brought together in an architecture library, organised by dpr-Barcelona.
KOOZ The Future Foodscapes Compendium is an expanding archive of tools and resources aimed at forging a fairer and more resilient global food system. What does it mean to think of our food system as a closed loop? How does the compendium work towards enabling this paradigm shift?
FFRU Understanding the food system as a closed loop emphasises the interconnections among different stages of production, distribution and consumption of food. It reveals how isolated actions impact other parts of the system, promoting a holistic view where each output becomes a resource for another process. This approach advocates for designing with a metabolic perspective, focusing on resource reuse, waste reduction, and the traceability of the substances and materials that we use in everyday urban life. By addressing these interconnected elements, we can transition from a linear "take-make-waste" model to a regenerative system that enhances resilience and minimises environmental impacts.
The Future Foodscapes Compendium contributes to this paradigm shift by identifying and analysing a wide range of case studies across five research agendas: Foundation, Production, Distribution, Consumption, and Digestion. By highlighting agro-architectural models that already embody circular principles, it serves as a tool to inspire systemic change. The compendium connects diverse practices and technologies that can be scaled to create a global food system that feeds the world without depleting the planet. Its interdisciplinary approach integrates knowledge from agriculture, architecture, and culture, promoting a holistic vision where food production and consumption become sustainable, equitable, and regenerative processes.
KOOZ Drawing a parallel to the scrutiny of the food industry, Building Transparency aims to illuminate the opaque areas, unravel complexities, and conduct analysis, synthesis, and critique of the built environment. What would you say is the darkest side of the built industry?
JADE APACK When constructing a building, it is extremely difficult to find information about the environmental impact of the products and resources offered for use. This is mainly because the materials we specify are largely transformed products, and we have little knowledge of where the raw materials come from, how much is used, or what chemicals are added as performance-enhancing additives.
Through this lens, raw materials are ingredients and buildings are dishes — yet contrary to the food industry, there is no international regulation requiring companies to disclose sources, nor provide labels rating their impact on human or environmental health. This lack of transparency continues due to the fact that there is no global administrative body overseeing the built industry and its extractive processes, even though the amount of material produced and transported across countries surpasses all other sectors annually, in sheer volume.
Building Transparency addresses this gap by using fictional labels and recipes, speculative Ministries of Extraction, dynamic temporal maps, and poetic regulations to raise awareness. Through these artistic tools, the goal is not only to highlight the hidden aspects of the built environment but also to develop new ways of analysing and governing our territories, fostering a deeper understanding of the industry's environmental and social impacts.
KOOZ Both Cycle of Materials and Building, Unbuilding, Rebuilding look at the materials and elements which constitute our buildings as a valuable resource which can be continuously transformed. What are the greatest hindrances to building a truly circular economy of reuse?
STUDIO ACTE The stocks of deconstructed materials from past centuries constitute a fragmented heritage, highlighting the urgent need for the building sector to rethink material flows and design strategies. A practical approach to reuse involves a critical phase of sourcing materials. However, limited numbers of deconstruction sites and second-hand resellers hinder the establishment of a large-scale supply chain. Additionally, storing and maintaining reclaimed resources to extend their lifespan incurs specific costs that must be integrated as added value in every project. Therefore, architects must develop new tools and design methods that reshape current practices.
"Cultivating hands-on experience in collaboration with demolition workers, resellers and craftsmen, while rethinking our relationship with materials, allows us to envision new possibilities and unlock the technical and aesthetic potential of reuse."
- Studio ACTE
Alongside the cultural and economic challenges of engaging clients in circular or reuse-based practices, the general lack of knowledge regarding reclaimed material stocks limits their broader implementation. As architects, we believe that integrating applied research with practical experience is essential to developing a resilient design approach. Cultivating hands-on experience in collaboration with demolition workers, resellers and craftsmen, while rethinking our relationship with materials, allows us to envision new possibilities and unlock the technical and aesthetic potential of reuse for a broad range of stakeholders.
DOING.PT Often, the greatest hindrance is the wrong idea (at times, unconsciously assimilated) about growth — especially in reference to the economy. A circular economy of reuse needs to be seen as a healthy stabilisation of the economy as well… A cycle, not an exponential graphic of growth. This would allow a balance between the needs and the availability of materials, from one side, but also create an economical dynamic that takes into consideration the social impact of all activities involved. Of course, such a proposal would raise a lot of questions regarding current legislation related to the building process; also of the guarantees and timetables expected in the construction sector and required by its various stakeholders. All these systems were built to serve a production sector that would market their products within a logic of growth and prosperity — whatever that means. A circular economy of reuse would be a constant reformulation of all these established systems. In summary, there is a lot of work to be done in the political and legal aspects, but also a lot of work to redefine our priorities and needs as human beings. Starting from the concept of happiness and success, which nowadays is measured by people’s economic capacity to buy things. This is about education.
KOOZ Moving away from materials to the infrastructures which enable their transport and movements across geographies, Georgian Railways: How Trains Can Remake a Country explores the potential impact of reviving regional railways on sustainable development. What would this entail for both the urban and rural populations in Georgia?
GEORGE GULEDANI Reviving regional railways in Georgia would profoundly impact both urban and rural populations by addressing several critical issues. For urban areas, the reintroduction of a reliable railway system could alleviate the chronic traffic congestion caused by the overreliance on private cars, currently exacerbated by the deteriorating state of the current rail network. This shift would also reduce emissions, contributing to a cleaner environment and helping Georgia meet its sustainability goals. Efficient rail transport would ensure more organised and resource-efficient urban mobility, offering a viable alternative to the outdated modes of commuter transportation.
For rural populations, the benefits would be equally transformative. Reviving regional railways would provide them with better access to urban centres, improving economic opportunities, healthcare access, and educational resources. It would also reduce the social isolation of smaller towns, making them more attractive places to live, which could in turn help to decentralise population and economic activities from the capital. This decentralisation could contribute to a more balanced and equitable regional development across Georgia, raising the overall standard of living in rural areas. The project would thus serve as a catalyst for sustainable development, ensuring a more connected, equitable, and environmentally friendly future for the country.
Bios
Jade Apack is a French architect, artist and independent researcher based in Paris. Her work revolves around the notion of transparency in territorial planning. She uses transparency as a lever for engagement in participatory, artistic and political forms of action. Apack is a co-founder of the Lost&Find association, addressing the preservation of territories and the valorisation of know-how. Their works have been showcased at various exhibitions, festivals and biennales.
DOING.pt was founded by Nuno Vasconcelos, a Portuguese architect working with existing logistics and streams of waste materials and resources such as earth excavations, demolitions, quarries waste, by-products industry. These are utilised to produce practical works, including material, logistics and production research to answer the specific needs of a project. DOING.pt was founded to develop projects and ideas focussed around the circularity of resources and waste materials from urban context.
George Guledani is a media producer and a writer from Tbilisi with a distinct interest in contemporary urban design and photography. He has worked on various media projects in major television, print, and radio outlets in Georgia. This work includes a ten-part television series on Georgian urban life, intended to spark discussion among professional urbanists and raise public awareness of local development. Guledani is also interested in urban photography, and has a master’s degree in journalism and mass communication from Ohio University.
FFRU is a collective and a platform focused on rethinking the future of the planetary food system. It explores the food system's relationship with the built and natural environments. Functioning as an Open Research Platform, the FFRU is composed of many members and agents with different levels of involvement. Its core consists of eight interdisciplinary researchers: Eduardo Castillo-Vinuesa, Carlo Udina, Mireia Figueras Cortés, Marcia Belén Ardiles, Irene Domínguez Serrano, Pedro Sanguino, Claudia López García, Anastasia Sinitsyna.
Studio ACTE was founded by French architect Estelle Barriol in Rotterdam (2020), later joined by Fanny Bordes. Inspired by vernacular architectures, practice focuses on low-tech, locally-sourced and bio-based designs to answer the depletion of resources. The work involves small and large-scale architectures, from reused furniture to large rammed-earth buildings, including self-built pavilions made of 100% reused components.
Margarida Waco is a Danish-Cabindian architect and writer. Currently, a PhD candidate at the Institute for the History and Theory of Architecture (gta) at ETH Zurich, an Associate Lecturer at the Royal College of Art in London, and an editorial advisor to The Funambulist where she previously led the strategic outreach.
Federica Zambeletti is the founder and managing director of KoozArch. She is an architect, researcher and digital curator whose interests lie at the intersection between art, architecture and regenerative practices. In 2015 Federica founded KoozArch with the ambition of creating a space where to research, explore and discuss architecture beyond the limits of its built form. Parallel to her work at KoozArch, Federica is Architect at the architecture studio UNA and researcher at the non-profit agency for change UNLESS where she is project manager of the research "Antarctic Resolution". Federica is an Architectural Association School of Architecture in London alumni.
