Cities and buildings nowadays operate in a way that disturbs nature’s cycles, pollutes and devour vast areas of land. On the other hand, humans are unable to function outside of the built environment. Architecture provides proper and safe living conditions, creates spaces of everyday existence for numerous people all over the world.

The anthropocene is an era of humans, an era of anthropogenic changes that result in global climate catastrophe. The name of this exhibition signifies ambivalence – it is both narcissistic (what we present is testament to the human power) and critical towards the current state of the world. We do not, however, intend to instill hopelessness in our visitors. We can still stop (or rather limit) the destruction of our collective home. The exhibition is structured around the doughnut economics diagram – a compass for the 21st century. The interior of the doughnut is delimited by the social foundation – minimal appropriate living conditions, the external limit marks the ecological ceiling – the planetary boundaries in landscape, biodiversity, water, climate, land transformation and pollution, whose transgression causes irreversible damage to the natural world. Safe and just space for humanity is encapsulated between these two boundaries. It is there that we believe architecture would best fulfill its purpose.

The mosaic of examples presented in this exhibition delineates the context of current challenges in face of the climate crisis, allowing us to better understand the trials that lie ahead. We see architecture not only as an effect of global and local changes in the relationship between humans and nature, but also as a tool that shapes it. We present contemporary and historical designs, completed projects and technologies that impact the habitats of all species and beings. Installations in each ecological category offer us a look into architecture’s future and the roles it can play. Their authors looked for methods of architectural design and functionality that go beyond being not harmful to the planet and towards a regenerative environmental impact. These examples prove that there is another way for architecture.

The exhibition is accompanied by a catalogue which is set to be released in November 2022. The book elaborates on the context of doughnut economics in reference to the realities of Polish cities, giving it a practical dimension. Experts in six domains outline the theoretical background of the six speculative installations contemplating the future of regenerative architecture, designed for the exhibition by the participating artists. The last chapter of the book brings into focus the social and political sentiments, changes to the profession, language and policy that highlight architecture as one of the emanations of global processes that influence humans, the climate and the future of the planet.

The publication is edited by Kacper Kępiński and Adrian Krężlik

Authors: Daniel A. Barber, Ewa Bińczyk, Simone De Iacobis, Joanna Erbel, Paulina Grabowska, Paweł Hałat, Kasper Jakubowski, Krzysztof Janas, Aleksandra Kardaś, Kacper Kępiński, Monika Konrad, Adrian Krężlik, Małgorzata Kuciewicz, Dorota Leśniak-Rychlak, Barbara Nawrocka, Jolanta Pawlak, Cristian Pizzigalli, Philippe Rahm, Monika Rosińska, Oliwia Rybczyńska, Tomasz Sławiński, Jan Szeliga, Marta Tomasiak, Dominika Wilczyńska, Elke Krasny.

Editor-in-chief: Karolina Andrzejewska-Batko

Organized by: Narodowy Instytut Architektury i Urbanistyki 
Co-organized by: Capital City of Warsaw
Scientific curator: dr hab. inż. arch. Bolesław Stelmach, prof. PŁ 
Curators: Kacper Kępiński, Adrian Krężlik 
Contributors: Pracownia Architektury Krajobrazu (Marta Tomasiak, Marta Przygoda), Centrala (Małgorzata Kuciewicz, Simone De Iacobis), Miastopracownia (Barbara Nawrocka, Dominika Wilczyńska), Kasper Jakubowski, Jan Szeliga i Krzysztof Janas, NAS-DRA (Paulina Grabowska, Oliwia Rybczyńska) , Jan Domicz, Simone Ruess, BIEL studio (Zofia Strumiłło-Sukiennik, Grzegorz Piotrowicz)
Sound installations: Dobrawa Czocher, Baasch 
Exhibition architecture: Centrala (Małgorzata Kuciewicz, Simone De Iacobis) 
Visual identity: Katarzyna Nestorowicz 
Graphic design of the exhibition: Jerzy Gruchot (Full Metal Jacket) 
Production: Weronika Sołtysiak 
Licensing: Mateusz Włodarek  
Accompanying program: Marta Baranowska, Katarzyna Domagalska, Anna Czarnota 
Communication: Joanna Krupa, Dominik Witaszczyk 
Editing: Urszula Drabińska 
Translations: Natalia Raczkowska, Dorota Wąsik  
Photo editing: Studio Avantura (Roland Nowak) 
Implementation: Muh Crew (Jakub Henke, Łukasz Kowalski, Marcelina Dereń, Łukasz Rosiek, Paweł Łasiński, Radosław Jagucki, Kacper Kobus, Piotr Cwaliński, Michał Szulżyk, Krzysztof Mędrek, Kuba Puchatkiewicz)
Models: Onimo – makiety architektoniczne 
Collaborative input: Muzeum Sztuki Nowoczesnej w Warszawie, Warbud SA, Dominika Dragan-Alcantara, Dorota Leśniak-Rychlak (współpraca redakcyjna / editorial collaboration), Aga Sukienniczak (współpraca kuratorska / curatorial collaboration)  
Organisational input: Anna Brzezińska-Czerska, Monika Komorowska, Katarzyna Sałbut, Artur Wosz, Katarzyna Zachara 
Acknowledgments: 55architekci, Adrian Bodhi, Afl architects, Agence Ter Paysagistes Urbanistes, Alisma Construction, Ana Tostões, Analog Studio, Ave Bureau, Bal Architektek, Bart Staszewski, Baumschlager Eberle Architekten, Biblioteka Uniwersytecka w Warszawie, Cave Bureau, Co-haty, David Brichs, De Urbanisten, Domino – grupa architektoniczna, Einszueins Architektur, Emmanuelle Bentz, Empreinte, Fallingwater Projects Western Pennsylvania Conservancy, Fundacja Instytut Architektury, Fundacja Mies van der Rohe, Grün Stadt Zürich, Hassell+, Hans Porochelt, Instytut Dokumentacji Architektury, Biblioteka Śląska, Instytut Biochemii i Biofizyki PAN, Jeju Studio Iwo Borkowicz, Kamil Bańkowski – Irart, Ken Schluchtmann, Kéré Architecture, Kothari Associates, Kuryłowicz & Associates, Lacaton & Vassal, Lindman Photography, Maciej Siuda Pracownia, Major Architekci, Miasto Kraków, Milena Szutkowska-Maj, Modraszek Kolektyw, Muzeum Architektury we Wrocławiu, Muzeum Historii Żydów Polskich POLIN, Muzeum Narodowe w Warszawie, Muzeum Śląskie w Katowicach, Narodowe Archiwum Cyfrowe, Nathanael Scheffler, Paweł Ulatowski, Philippe Rahm Architectes, Raumlaborberlin, Riegler Riewe Architekten, Sonovision, Studio A4, Surroundings Studio, Telewizja Polska, White Arkitekter, Workplace, X-Architects, XYstudio, Zofia Strumiłło-Sukiennik i Grzegorz Piotrowicz, Zukunftsgeraeusche 
Collaboration:   Adobe Stock, Agencja Wyborcza.pl, Alamy, Archiwum Architektury Hassana Fathy’ego, Amerykański Uniwersytet w Kairze, Archiwum Fundacji Ośrodka KARTA, East News, Forum Polska Agencja Fotografów, Galeria Le Guern, Grupa ZPR Media, Jakub Rodziewicz, Jan Domicz, Jan Goots, Karol Żurawski, Krzysztof Kalisz/OperatorKamery, Marcin Czechowicz, Michał Młynarczyk, Muzeum Akademii Sztuk Pięknych w Warszawie, Paweł Skowera, Polska Agencja Prasowa, Robert Fishman, Simone Ruess, Smith Archiwum, Tomasz Czernicki, Tomasz Kiełkowski Archifoto

The organisers have made every effort to identify and contact all owners of copyrights to the works presented at the exhibition.

We would like to thank all the institutions and individuals who contributed to the creation of this exhibition.

The exhibition is co-financed by the Polish Ministry of Culture and National Heritage.