Author: Brodie Weir

Programme Directors: Nathalie Khan, Janine Francois

Project Tutor: Ben Bethell

Special thanks to BA Culture, Criticism and Curation, the Culture & Enterprise
department and Thames Tideway for allowing me to photograph their
construction sites..

The project was developed during the London* Project 2021

Central Saint Martins School of Art
London, United Kingdom
 CONTENTS
Prologue ................................................................................................................................................................................. 001

Form ......................................................................................................................................................................................... 007

Object-hood ............................................................................................................................................................ 009
Augmented Reality .............................................................................................................................................. 011

Design ...................................................................................................................................................................................... 013

Layout ........................................................................................................................................................................ 015
Graphics .................................................................................................................................................................... 017

GS2.0
Collaboration .......................................................................................................................................................... 019
Budget ........................................................................................................................................................................ 020

Research .................................................................................................................................................................................. 021

ALMANAC
NOTE: When relevant, extracts from the live writing and contextual essay submissions have
Fieldwork and experimentation ...................................................................................................................... 023

Prototype ................................................................................................................................................................................ 049

Interventions ........................................................................................................................................................... 061
Augmented Reality User Experience ............................................................................................................. 083
been included in the research journal as to present a appropriate flow and holistic overview
of the project.
Bibliography ........................................................................................................................................................................... 091
PROLOGUE Mitigate
Look at the sewer system of the city as a network of institutionalised infrastructures—segregated pipes
of water supply and sewage extending as a vast underground network to different homes, apartments,
restaurants and public spaces, all connected via bathrooms and kitchens. In 2140 London’s super-sew-
er, the proposed solution to mitigate the city’s waste water problem, will begin to reach the end of its
lifespan. The conditions of living in London at that time will be radically different from what we know
today. Thus in order to manage the capital’s sewage and waste water, the city will need to employ al-
ternative strategies and must do so in way that is ecologically sustainable, resilient to changing climate
conditions, long-lasting and socially equitable.
The Great Stink 2.0 Almanac (GSA 2.0) speculates on viable urban waste futures. It will present three
speculative design interventions - To Stay with Our Monster, Sous les Pavés, l’égout! and Wasted Relics.
Each will be curated as an anatomy of interdisciplinary work that engages with the complications and
nuances of the respective geographic zone in relation to the wider situation of London. These interven-
tions sit in the realm between plausibility and the impossible, designed with the goal of conservation,
restoration and terrain management - confronting waste water and sewage on century-long timescales
and wide, urban spatialities.
The speculative almanac, a publication of fictional interventions, a simulated folklore, implements the
digital technology of augmented reality (AR) in order to build interactive fictions across diverse medi- Impossible
as and practices. AR serves the project as a new form of tactility. When the reader/ user interacts with
these stories, they are sensing London in a new way, in a new time. Plausible
Ultimately the Great Stink 2.0 Almanac is a negotiation between research, evidence, speculation and
trusting in the imagination of the audience. The project carries the assumptions of the belief in science
and the belief in storytelling. Abstracting from real (note that I want to be careful with the term “real”
here) world information and utilising methods of experimentation in speculative fiction to build a set
of simulated conditions to posit solutions in. The result is the imagining of a legible future, such that
preemptive jurisdiction could address present and anticipated problems. In short, an unimaginable fu-
ture is hard to deal with, so what does it mean to live in these scenarios? How can we situate ourselves
in these worldings as a practice of the ideologies, philosophies and complications that exist there? What
can we take from this fabulated adventure? F E E DB AC K

REAL DATA NARRATIVISING PROJECTED SIMULATION

Aggravate

In films, games and TV series we use alternative worlds as tools for understanding our own world in new
ways. The project stories a broken present, setting forth a cautionary narrative for possible escape from
our cycles of metabolic malfunction. Each intervention is neither documentary nor is it entirely fictional.
SPECULATION Rather than resolution the project will produce a moment of speculation for those who wish to engage
(ALTERNATIVE DATA) with these fictional scenarios as they unfold, prompt, poke and question current narratives.
RE Beginning with a concise recount of the years leading up to these interventions, the City of London’s
CU Optimisation (C.L.O.T) Act immerses the reader into the time of the Great Stink 2.0.
RS
IO
N
(IN
TEN )
DED OUTCOME

001 Prologue GS2.0 Almanac GS2.0 Almanac Prologue 002

 It must be noted that this methodolo-
gy involves transdisciplinary reading
practices across theory and fiction, in
search of alternative worlds of
inquiry. In their ex-
ploration into
“New Em-
pricisms of
the Anthropo-
cene”, Elizabeth
de Freitas & Sarah E.
Truman ask, “In what ways
does speculative fiction present
alternative research methods for studying
pluralist post-human ecologies and new forms of
worldly belonging?”. They present the question to scru-
tinise how qualitative inquiry might manifest in the contemporary and
the way it can radically embed itself into academic pedagogy. The particular
emphasis on speculative thought and alterity sparked my interest in applying
this methodology in practice. In what contexts does speculation become not
illustrations of arguments or thinking but the operating of thinking itself?

Speculative fiction, in this context, serves as a method of designing the “worldings” in which
we can situate ourselves in order to understand problems at new scales. I seek to interrogate
the genre - the arresting images of environmental disaster, social collapse, abandoned cities and
economic ruin that act as projected caricatures of the here and now. And use these fabulations to an-
ticipate, to quote architect Rania Ghosn, “new and largely uncharted kinds of living on a damaged plan-
et.” - a real that is yet to come. How can we use these worlds, what are the possibilities of a productive
dystopia?

It’s open ended for good reasons. There are a lot of unknowns within this.

Speculative fiction is involved in a feedback loop with science, recursively influencing each other; intri-
cately bound, flowing through one another and then outward to a public audience. Thus how the envi-
ronment is depicted (speculated) throughout speculative fiction is a way of encapsulating the ideologies
and predictions of the time. From folklore to futurism, we can use storytelling as a methodology for
exploring the contours of a society. Particularly where we situate ourselves in these “worldings” as both
readers and authors.

Art and science need not be separate approaches, we can look at these techniques as kin to make sense
of the entanglements that transcend discipline, subject, field, academia, ultimately any kind of binary
etc. And use speculative fiction as an ontological tool to imagine possible worlds that respond to climate
change and more broadly the changing material conditions of living in the Anthropocene.

It must be noted, as a moment of reflexivity, that questions of ‘whose “world” do we produce?’ are im-
portant to consider here, as not to inherit and reproduce painful imperial histories.

003 Prologue GS2.0 Almanac GS2.0 Almanac Prologue 004

 INITIAL IDEATION

005 Prologue GS2.0 Almanac GS2.0 Almanac Prologue 006

 / gen
e ctive u
od

ra
r

tiv

p
se become
e
of ideas
?

ur
c

o
s
s di
thi
oes
w d
ho
nd
A
e?
I am exploring a variety of routes to materialise the project in published form in the forthcoming

ac
months, and for the final submission I am presenting the project as a publication - an object familiar to

sp
the practice of storytelling. This chapter of the research journal will present the process of crafting the
l
ca
object of the almanac, how it was formulated throughout the project and the inclusion of augmented
gi

reality as an extension of the publication.

go
da

For a project so detached from the “real” world the Great Stink 2.0 posits itself in the intangible, thus
pe

an almanac remains a tangible anchor. The object, in this sense, is the only extension or manifestation
of the project in a “real” form. The object needs to reflect the breadth, variety, intensity, ambition and
of

nuances of the speculative processes inside. Graphic consultancy is needed for this to ensure the best
pe

design that can communicatively reflect the content/ narrative of the Great Stink 2.0. Once the content
ty

is reaching completion I will be looking into the best option for this and start to play with the spatial
is

t layouts, editorial sequences and text communication. I see room for collaboration here as a mode of
h

r strengthening the project.

fo
i gn Engaging with the dynamic spread of texts, visuals, graphics, fabulations and essays in the almanac, how
d es
yo
u CHAPTER ONE do we take this material and respond to the environment, ecology and Anthropocene? It’s a question

FORM
that can not be answered, only experienced - not always knowing where the discourse might go. How
do
How do we design for this type of pedagogical space? And how does this discourse become productive/
generative of ideas? My presentation will expose the panel to radical models of exploring these ideas
using the almanac as a communicative vessel.

GS2.0 Almanac Form 008

 “Perfect Binding” for a strong and
flexible finish to the publication

Why ‘almanac’?
Hijacked from the idea of a farmer’s almanac, the history of which reaches back into ancient civilisa-
tions, I situate this project within the framework of an almanac - a book published every year that in-
cludes information for that year such as important days, times of the sun rising and going down,
or changes in the moon (Cambridge University Dictionary, 2021). The Great Stink 2.0 Almanac subverts
the idea of an annual publication, this is an almanac on an extended timeframe taking place over a five
year span between 2130 and 2135. This type of publication was chosen to emphasise the planning
aspect of speculation and the ways in which it has been used within industry for millennia. The three
projects inside are a plan for the fabulated narrative, a set of forthcoming interventions.

009 Form GS2.0 Almanac GS2.0 Almanac Form 010

 Chapter 4 of this research journal
indicates the pages that will be translated
AUGMENTED REALITY into the digital environment, each has a
mock-up (right of page) of how the user
can interact with the 3D objects, gained
by either scanning the page or being in the
geo-location.

Emulating the Unreal City exhibition,

the user can view the speculations in the
locations in which they are posited. This
is to encourage audiences to engage with
their urban environments, imagining the
infrastructures of London in a new way.
Similar in function to the publication
Example page, as presented in chapter 4.
itself, this walking-tour-esque iteration of
the project seeks to exemplify the maleability of the environments around us. The aim is to create an
interactive learning environment that works in tandem with the almanac.

Garage Magazine S/S15 AR models as seen through the GARAGE App.
As used by Garage Magazine Issue 8 released in 2016, the almanac will employ the use of augmented
reality throughout the speculative interventions (see chapter 4 Prototype for all pages that are
included). “Augmented reality” (commonly known as AR) is a technology that overlays a computer
generated image, 3D model, architecture et al. over the real world. Using this technology, “users can
handle the virtual objects in the real world at the real time, thus virtual objects and real objects coexist
in the same space-time” (Graham, 2013: 6). By merging the publication with these digital learning
technologies a direct connection between the ‘real’ world and the ‘speculated’ world is made, supported
by the 3D models and environments the user can situate themselves in. The user will be able to interact
with the speculation in an immersive way through: manipulation, translation, navigation, rotation and
scaling of the objects and environments.
3D visualisations opens up the project to new avenues. The decision to include AR is an evolution of
the project, such that, it could evolve further into more digitally-built environments designed for the
sake of speculation. With these models, labels and positions the audience can understand the concept
of the project with clear visual support - potentially making the process of speculation more accessible.
These virtual architectures aren’t real, thus they can translate the immaterial imagination in ways that
the physical, built environment can not. In this, they form a new layer to the city. One that is hidden
behind the thin, membranous window of the Acute Art app. These digital environments “remake the
atmospheres [...] design temperatures [...] synthesise suns” (Young, 2019: 158) and in this project are
used to build infrastructures.
Each of the three speculations will have at least one AR environment to support it, manifesting on
different scales.

The digital counterpart to the publication will be hosted by Acute Art, an app that exhibits visual
artworks in Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR). Recently, Acute Art
teamed up with Dazed Media to host London’s biggest public festival of AR Art.

Perfectly suited to a project such as the Great Stink 2.0, with its celebration of the fantastical and
fabulated, the implementation of the AR will be in two parts:

1. On pages indicated by the symbol

Progressive Ladybug 2, Olafur Eliasson, 2020 as part of Unreal City presented by Dazed
2. In the geographic zones of London where each intervention takes place Media and Acute Art.
011 Form GS2.0 Almanac GS2.0 Almanac Form 012
It matters wha
t th

gh
ou

ts

y
thi

wa
nk th
ought

a ra
s, it
ma
tte

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rs
wh

onn
at
kn

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kn

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ow
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wl

t sto
ed
ge

wha
, it
ma

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tte

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rs

tm
wh

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at
rel

rld
at

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re
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te

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ns, it m tw
atters wha
CHAPTER TWO

DESIGN
This chapter documents the decision making behind formatting the almanac
publication, where inspiration came from and where there is room for potential
collaboration. As the publication as an object begins to form, budget and marketing
is also considered in this chapter.

GS2.0 Almanac Design 014

 The cover design was an iterative process of communicating the idea
of an almanac as a communicative vessel. Two fonts are used - one
classic, one contemporary - as to emphasise the conceptual tension
between these two temporalities. The arrows are a graphic of poten-
tial pathways, this is just one almanac but the timelines are infinite.

015 Design GS2.0 Almanac GS2.0 Almanac Design 016

 Layout influence. Note the use of collage, cut outs, repeated
images, panaroma and unconventional use of spatial
layouts, relationships, and sequences, which play with the
emptiness and fullness of the double page spread.

017 Design GS2.0 Almanac GS2.0 Almanac Design 018

Self-Publishing as an independent author, means one is without the publishing house handling the tasks
of editing, cover design, marketing and other duties. Although the overall idea, development and written
aspect of the project is produced by myself, the graphic, formatting, 3D design, editing and proof-read-
ing need to be outsourced and formed through collaboration.

The graphic material throughout the research journal and

into the prototype pages of the almanac are the first draft of
what I foresee as a possible route for the aesthetics of the
project. Note the stress on “first” draft as to allow for many
iterations, reevaluations and aesthetics to be introduced as
the project continues to be developed. Here I see the notion
of collaboration as being a strength to the project - especially
from a creative perspective. It is the tensions and relaxations
of working with collaborators and consultants which makes
room for newness and drives the project in productive ways.
In this the graphic consultant would need a portfolio of orig-
inal graphic work, a strong aesthetic discipline that fits into
the conceptual framework of GSA 2.0 and a knowledge of Graphic by Norman Orro
formatting and layout on Adobe InDesign (the chosen software used to build the publication).

The first shortlisted graphic consultant is Norman Orro. The works and aesthetic of graphic artist Nor-
man Orro fit well into the project. Having produced work that is captured under the umbrella of the
“post-anthropocene” (whatever that may mean) label, I think that he would have a grasp on the concep-
tual foundations that I am trying to present in GSA 2.0. His breadth of graphic work is consistent in qual-
ity yet varied in style. The second shortlisted graphic consultant is Pete Phipps, a fine art student from
CSM who has experience working in a Nottingham based publishing house as well as in self-publishing Currently the projected funding needed to produce a run of 250 copies would be approximately
himself (magazine called Bikini State). His understanding of design as a craft is a unique take on graphic £1000.00. As shown in the chart above, the majority of the budget would be going toward printing
design. From his portfolio I’d be interested in seeing how he would push the idea of what an “almanac” is. and the graphic and AR collaborations. Arts Council, ICA, IADT (Institute of Art, Design, Technology),
I have also shortlisted one for the 3D design which will be used in the AR. Misha Notley, a London based Thames Tideway Scheme, Acute Art, UAL or bursarys from the book fairs/ festival listed are possible
creative technologist with experience in 3D design and world building as well as VR and AR. Other op- routes for funding and would subsequently change the scope and reach of the publishing and distri-
tions could be searched for in the departments of architecture, graphic design and creative coding. bution process. Each copy of the almanac would sold for £10, profits of which would be fed back into
printing second editions when necessary.
To build intimacy with each contributor, as well as sending the written work thus far, I would build a re-
search pack of relevant references - texts, films, images, books, comics, magazines, other self-published
works - that concisely and throughly translate the concept of the project.
For editing and proof reading I would seek academic assistance
from UAL, or source a third-party proof reading service (included in
budget graph).

Marketing assets would be produced using graphics throughout

the publication, a curated selection which expresses the ideas and
methods of the publication. The almanac would then be presented
through various fairs, conferences and festivals

In order of preference:

- Artist Self Publishers’ Fair the 6th hosted by ICA, London

- Driving the Human festival 2021, Berlin
- Radical Book Fair 2021, London

019 Design GS2.0 Almanac GS2.0 Almanac Design 020

 ia expels good
Leon s, th
re e mor
mo e it
he accu
[ T] mu late
s t
he
m;
th
e
s

ca
le
s
of
its
past
Fieldwork at the sites of affect - central London, the River Thames, Thames Tideway Scheme sites
y definitive form. - Marco Polo

of work etc. This geographic documentation will frame the context of the project in the “real” and

are soldered into a

contemporary. This chapter will emphasise the role humans play as a spatial actors and the malleability
of the urban zone - preparing it for a process of abstraction.

The fieldwork follows my walk along the river, starting at Shadwell Basin and working my way west
towards Blackfriars station (of which just beyond is the Bazalgette Embankment that is set to open in
2024), as I document these spaces of intrigue at different scales and in different seasons. From labour
to the environment, I sought to capture all the systems involved within the processing of waste and the
building of the super-sewer. How is the river being used as infrastructure? Is there room to re-organise
the existing structures of labour for new means? How do we govern the transition?

cuira
These questions are pondered, visually, in the form of graphic manipulations (using Adobe CC). I created
these to play with the fieldwork, splicing together the documentation with found images of fatbergs and

ss t
sinkholes, architectures of the city and of politics. These are the images of collapse that we see in films
CHAPTER THREE

RESEARCH h
and TV, it is what is needed as a foundation to rebuild towards alternative fabulation.
onl

a t can
its

From here I began to formulate plans for the speculations, grounding them as 3D models (using Blender)
on maps and environments.
in

n
ot
f
el

be

s
it re
of l ov
m
al ed
es v . A
er s s t
i t pre he
cit a y,
y is
renewed each d

GS2.0 Almanac Research 022

023 Research GS2.0 Almanac GS2.0 Almanac Research 024
027 Research GS2.0 Almanac GS2.0 Almanac Research 028
GS2.0 Almanac Research 030
031 Research GS2.0 Almanac GS2.0 Almanac Research 032
033 Research GS2.0 Almanac GS2.0 Almanac Research 034
035 Research GS2.0 Almanac GS2.0 Almanac Research 036
037 Research GS2.0 Almanac GS2.0 Almanac Research 038
039 Research GS2.0 Almanac GS2.0 Almanac Research 040
041 Research GS2.0 Almanac GS2.0 Almanac Research 042
WHY WASTE WASTE?
Waste is not celebrated in the urban. With this project I propose instead for waste to be given agency
to request itself into the political and geo-political domain. Its focus is not the elimination of waste but
rather its normalised ingestion, such that its symbolic status as filth, surplus or externality is broken.

The speculation begins with a concise recount of the 120 year urban transformation of London,
focussing on the failure of the Thames Tideway Scheme’s ‘super-sewer”’

The Great Stink 2.0 Almanac is a presentation of three aesthetic and political abstractions of the urban
space. Neither documentary nor are they entirely fictional, each sight-specific intervention posits
infrastructures as part of urban metabolic processes or, in old-fashion terms, ‘nature’. Terraforming the
city into an artificial vehicle for the continuation of natural waste flows. Sensing waste at the local, city,
regional and planetary scale, by repurposing a network of infrastructures and instruments toward a
shift in the management of the urban ecology. In this timeline infrastructural politics becomes ecological
politics.

Systems often exist across large scales, thus problems arise from a series of related issues. Waste is
cellular and microbial, it is planetary and cosmic. It is the ways in which we perceive our processes of
managing waste that need to be reimagined. It becomes difficult for the individual to consider entire
systems from one intervention. This is where the idea of a series of interventions
came from. Each of which becomes a symbol for one of issues at stake. The
solution becomes a montage of specific responses that might manifest as
cultural, political, social or environmental (or more realistically across the
territories of numerous disciplines all at once).

To Stay with our Monster, Sous les Pavés, l’égout! and Wasted Relics
are microcosms of scientific, cultural and artistic experimentations
on forms of living with waste, what it means to live in a city and
what it means to make a world.

1. To Stay with Our Monster

A co-habitation of space between citizen and fatberg.
Exhuming the monster to surface level allowing it to live
amongst us, teaching us about our own processes of worship
and waste.

2. Sous les Pavés, l’égout! (Beneath the pavement, the sewer!)

Inspired by the 1968 Situationist protest exhibition that critiqued
the modern urbanisation of Paris, Sous les Pavés, l’égout! (Beneath the
pavement, the sewer!) places the surface level and the subterranea in
mutual contingency.

3. Wasted Relics
A sculpture park located in the River Thames based on relics from the past that have
acted as fatberg size comparates. Three elephants, a small bungalow, a double decker bus
and a Boeing 747 aeroplane all in full scale - monuments to the Great Stink 2.0.

043 Research GS2.0 Almanac GS2.0 Almanac Experimentation 002

GS2.0 Almanac Experimentation 000
047 Research GS2.0 Almanac
 w -how; rather than
d kno de
N an ny
av e s in
ig i g
at o log it
ing n
col , t ech
laps s
ture

a
e with t r u c

lt
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og
et
he
r
CHAPTER FOUR

PROTOTYPE
Example two page spreads. Excerpts from the live writing submission are included in context, in other
places placement text has been added to show formatting. The timeline and introductory pages begin
this chapter, followed by the title page and several pages for each speculation.
The chapter closes with examples of the Augmented Reality User Experience (ARUX).

GS2.0 Almanac Prototype 050

 PRESENT
September 2017: A 250-metre-
long (820 ft) fatberg weighing
over 130 tonnes (140 short tons)
was found under Whitechapel,
6 August 2013: A fatberg London. Even working seven days
roughly the size of a bus a week at a cost of £1 million
that weighed 15 tonnes (17 per month, officials estimated it
short tons), consisting of would take two months to destroy
food fat and wet wipes, was it. Two pieces of the fatberg were
April 2015: A 40-metre-long
discovered in drains under cut off on 4 October 2017 and,
(130 ft) fatberg was removed
London Road in Kingston after several weeks of drying,
from sewers under Chelsea.
upon Thames, London. were displayed at the Museum of
It took over two months to
London. October 2020: A 10-tonne
remove, and the damage it
caused cost an estimated fatberg made up of grease, fat,
£400,000 to repair. and wet wipes was removed
from sewers under Cadogan
Place in London, England.

December 2019: The first

occurrence of a large fatberg
1 September 2014: A solid
in the north of England was
mass of waste fat, wet
reported by United Utilities
wipes, food, tennis ballsand
under HM Prison Manchester. February 2021: A “huge
wood planks, the size of a
The 52-metre-long (170 ft) and disgusting” fatberg
Boeing 747 aeroplane was
fatberg was estimated to described as having
discovered and cleared by
weigh around the same as the same weight as a
sanitation workers in a drain
Started in 2016, construction three elephants, taking several bungalow was removed
beneath a 80-metre (260 ft)
of the Thames Tideway weeks to remove fully. from under Yabsley Street
section of road in Shepherd’s
Tunnel aimed to take seven in Canary Wharf, London,
Bush, London.
to eight years with all England.
work completed by 2024,
but, in 2020, the COVID-19
pandemic delayed estimated
completion to early 2025.
 TO WORLD
Individually you perhaps can
not experience climate change.
You turning your car key is
not having an impact, it is the
collective of 10,000,000 others
which is. Storytelling serves
as a method of designing the
worldings in which we can
situate ourselves in order
to understand problems at
new scales.

GS2.0 Almanac Prototype XXX

TO INTERVENE
Systems often exist across
large scales of geography, thus
problems arise from a series
of related issues. It becomes
difficult for the individual to
consider entire systems from one
intervention. This is where the
idea of a series of interventions
comes from. Each of which
becomes a symbol for one of
the issues at stake. The solution
becomes a montage of site-
specific responses that might
manifest as cultural, political,
social or environmental.
XXX Prototype GS2.0 Almanac
 TO RECURSE
Abstract ideas out of perceived
form to explore them outside
of the immediate context of our
environment. The goal is to help
better understand these affects
in different societal contexts and
the subsequent consequences
that might otherwise go
unexplored.

GS2.0 Almanac Prototype XXX

 City of London’s Optimisation of Terrain (C.L.O.T) Act

In 2130 the Thames

Tideway super-sewer,
as predicted, begins to
fail. After all it was the Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque lau-
The Thames River is now dantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto
same solution as in the
considered a toxic zone, and beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur
Victorian Era, The Great
boroughs bordering the water aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi ne-
Stink was relieved by
have the highest levels of sciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci
Bazelgette revolutionising
ammonia, suplhur dioxide velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam
the sewer system. Due
and tropospheric ozone found quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis
to a combination of built
in the city’s smog in over 2 suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure rep-
up matter, excess water
centuries. rehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolo-
flows and the increasing
population London’s sewer rem eum fugiat quo voluptas nulla pariatur?”
system could not cope - “At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium volup-
the solution had to adapt. tatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupidi-
tate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et
dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore,
cum soluta nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat
facere possimus, omnis voluptas assumenda est, omnis dolor repellendus. Temporibus autem
quibusdam et aut officiis debitis aut rerum necessitatibus saepe eveniet ut et voluptates repu-
diandae sint et molestiae non recusandae. Itaque earum rerum hic tenetur a sapiente delectus,
ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis doloribus asperiores
repellat.” ”At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesen-
tium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occae-
In the year 2134 fatbergs cati cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est
begin to form in the laborum et dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero
Thames building on In 2135 the mayor declares that tempore, cum soluta nobis est eligendi optio cumque nihil impedit quo minus id quod maxime
the banks and bridges, London has entered The Great placeat facere possimus, omnis Sed ut perspiciatis unde omnis iste natus error sit voluptatem
blockages in the sewer Stink 2.0. Urgent intervention accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore
system cause the is needed and within a matter veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem
regurgiation of unsanitised of months the City of London’s quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui
sewage into people’s homes Organisation of Terrain (known ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor
in the boroughs of Tower as C.L.O.T.) act is enacted, which sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut lab-
Hamlets, Westminster, looks to ecologically progressive ore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum
Southwark and City . The design to revolutionise the urban exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur?
fatty masses begin to metabolism of central London. Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae con-
overwhelm the efforts to sequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?”
contain them. “At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium volup-
tatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupidi-
tate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et
Intervention
ONE

To Stay with
Our Monster
A co-habitation of space
between citizen and fatberg.
Exhuming the monster to
surface level allowing it to
live amongst us, teaching us
about our own processes of
consumption and waste.

xxx To Stay with Our Monster GS2.0 Almanac GS2.0 Almanac To Stay with Our Monster 000
“Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium,
totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta
sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia
consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui
dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempo-
ra incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis
nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur?
Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur,
vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum
deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provi-
dent, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum
quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio
cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis voluptas assumenda
est, omnis dolor repellendus. Temporibus autem quibusdam et aut officiis debitis aut rerum necessitat-
ibus saepe eveniet ut et voluptates repudiandae sint et molestiae non recusandae. Itaque earum rerum
hic tenetur a sapiente delectus, ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis
doloribus asperiores repellat.” ”At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis
praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati
cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et
dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta
nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis

xxx To Stay with Our Monster GS2.0 Almanac GS2.0 Almanac To Stay with Our Monster xxx
 Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium
doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore
veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam
voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur
magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam
est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia
non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam
quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem
ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur?
Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil
molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pari-
atur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis prae-
sentium voluptatum deleniti atque corrupti quos dolores et quas molestias
excepturi sint occaecati cupiditate non provident, similique sunt in culpa qui
officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum quidem

xxx To Stay with Our Monster GS2.0 Almanac GS2.0 Almanac To Stay with Our Monster xxx
Intervention
TWO

Sous les Pavés,

l’égout!
Inspired by the 1968 Situationist
protest exhibition that critiqued
the modern urbanisation of
Paris, Sous les Pavés, l’égout!
(Beneath the pavement, the
sewer!) places the surface level
and the subterranea in mutual
contingency.
xxx Sous les Pavés, l’égout! GS2.0 Almanac GS2.0 Almanac Sous les Pavés, l’égout! xxx
 DUCIMUS QUOS
“Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium,
totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta
sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia
consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui
dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempo-
ra incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis
nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur?
Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur,
vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum
deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provi-
dent, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum
quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio
cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis voluptas assumenda
est, omnis dolor repellendus. Temporibus autem quibusdam et aut officiis debitis aut rerum necessitat-
ibus saepe eveniet ut et voluptates repudiandae sint et molestiae non recusandae. Itaque earum rerum
hic tenetur a sapiente delectus, ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis
doloribus asperiores repellat.” ”At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis
praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati
cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et
dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta
nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis
voluptas assumenda est, omnis dolor repellendus. Temporibus autem quibusdam et aut officiis debitis
aut rerum necessitatibus saepe eveniet ut et voluptates repudiandae sint et molestiae non recusandae.
Itaque earum rerum hic tenetur “Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusan-
tium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi
architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit asperna-
tur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt.
Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia
non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut
enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid
ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam
nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum
deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provi-
dent, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum
quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio

xxx Sous les Pavés, l’égout! GS2.0 Almanac

 AIR QUALITY IMPROVED
OVED BIO
DIV
PR E
IM RS
I TY
RED
UC ED NO
ISE POLLUTION
ITY
ABIL
WALK
IMPROVEDTER REDUCTION

CO2 REDUC
RATIVE SO E
IL EN

G
Q

RE
U
STORM WA

A L IT

TION
Y

T
FEC
EF
D
EN

ER AN
GY T I SL
SA A
VIN E D HE
GS REDUC

xxx Sous les Pavés, l’égout! GS2.0 Almanac GS2.0 Almanac Sous les Pavés, l’égout! xxx
 “Sed ut perspiciatis unde omnis iste natus error sit voluptatem
accusantium doloremque laudantium, totam rem aperiam, ea-
que ipsa quae ab illo inventore veritatis et quasi architecto beat-
ae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia
voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur
magni dolores eos qui ratione voluptatem sequi nesciunt. Neque
porro quisquam est, qui dolorem ipsum quia dolor sit amet, con-
sectetur, adipisci velit, sed quia non numquam eius modi tempo-
ra incidunt ut labore et dolore magnam aliquam quaerat volup-
tatem. Ut enim ad minima veniam, quis nostrum exercitationem
ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi
consequatur? Quis autem vel eum iure reprehenderit qui in ea
voluptate velit esse quam nihil molestiae consequatur, vel illum
qui dolorem eum fugiat quo voluptas nulla pariatur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus qui
blanditiis praesentium voluptatum deleniti atque corrupti quos
dolores et quas molestias excepturi sint occaecati cupiditate non
provident, similique sunt in culpa qui officia deserunt mollitia
animi, id est laborum et dolorum fuga. Et harum quidem rerum
facilis est et expedita distinctio. Nam libero tempore, cum soluta
nobis est eligendi optio cumque nihil impedit quo minus id quod
maxime placeat facere possimus, omnis voluptas assumenda est,
omnis dolor repellendus. Temporibus autem quibusdam et aut
officiis debitis aut rerum necessitatibus saepe eveniet ut et vo-
luptates repudiandae sint et molestiae non recusandae. Itaque
earum rerum hic tenetur a sapiente delectus, ut aut reiciendis
voluptatibus maiores alias consequatur aut perferendis dolori-
bus asperiores repellat.” ”At vero eos et accusamus et iusto odio
dignissimos ducimus qui blanditiis praesentium voluptatum
deleniti atque corrupti quos dolores et quas molestias excepturi
sint occaecati cupiditate non provident, similique sunt in culpa
qui officia deserunt mollitia animi, id est laborum et dolorum
fuga. Et harum quidem rerum facilis est et expedita distinctio.
Nam libero tempore, cum soluta nobis est eligendi optio cumque
nihil impedit quo minus id quod maxime placeat facere possi-
mus, omnis voluptas assumenda est, omnis dolor repellendus.
Temporibus autem quibusdam et aut officiis debitis aut rerum
necessitatibus saepe eveniet ut et voluptates repudiandae sint
et molestiae non recusandae. Itaque earum rerum hic tenetur

xxx Sous les Pavés, l’égout! GS2.0 Almanac

Intervention
THREE

Wasted Relics
Monuments to the planetary
waste cycles that feed, and are
fed by, the history of London. A
globe constrained by a sewer,
a species constrained by their
waste.

xxx Wasted Relics GS2.0 Almanac

“Sed ut perspiciatis unde omnis iste natus error sit voluptatem
accusantium doloremque laudantium, totam rem aperiam,
eaque ipsa quae ab illo inventore veritatis et quasi architecto
beatae vitae dicta sunt explicabo. Nemo enim ipsam volup-
tatem quia voluptas sit aspernatur aut odit aut fugit, sed quia
consequuntur magni dolores eos qui ratione voluptatem sequi
nesciunt. Neque porro quisquam est, qui dolorem ipsum quia
dolor sit amet, consectetur, adipisci velit, sed quia non num-
quam eius modi tempora incidunt ut labore et dolore magnam
aliquam quaerat voluptatem. Ut enim ad minima veniam, quis
nostrum exercitationem ullam corporis suscipit laboriosam,
nisi ut aliquid ex ea commodi consequatur? Quis autem vel
eum iure reprehenderit qui in ea voluptate velit esse quam
nihil molestiae consequatur, vel illum qui dolorem eum fugiat
quo voluptas nulla pariatur?”
“At vero eos et accusamus et iusto odio dignissimos ducimus
qui blanditiis praesentium voluptatum deleniti atque cor-
rupti quos dolores et quas molestias excepturi sint occaecati
cupiditate non provident, similique sunt in culpa qui officia
deserunt mollitia animi, id est laborum et dolorum fuga. Et
harum quidem rerum facilis est et expedita distinctio. Nam
libero tempore, cum soluta nobis est eligendi optio cumque
nihil impedit quo minus id quod maxime placeat facere possi-
mus, omnis voluptas assumenda est, omnis dolor repellendus.
Temporibus autem quibusdam et aut officiis debitis aut rerum
necessitatibus saepe eveniet ut et voluptates repudiandae
sint et molestiae non recusandae. Itaque earum rerum hic
tenetur a sapiente delectus, ut aut reiciendis voluptatibus
maiores alias consequatur aut perferendis doloribus asperi-
ores repellat.” ”At vero eos et accusamus et iusto odio dignis-
simos ducimus qui blanditiis praesentium voluptatum deleniti
atque corrupti quos dolores et quas molestias excepturi sint
occaecati cupiditate non provident, similique sunt in culpa qui
officia deserunt mollitia animi, id est laborum et dolorum fuga.
Et harum quidem rerum facilis est et expedita distinctio. Nam
libero tempore, cum soluta nobis est eligendi optio cumque
nihil impedit quo minus id quod maxime placeat facere possi-
mus, omnis voluptas assumenda est, omnis dolor repellendus.
Temporibus autem quibusdam et aut officiis debitis aut rerum

GS2.0 Almanac Wasted Relics xxx

 ALMANAC LOCATION

AUGMENTED REALITY

USER EXPERIENCE

083 Prototype GS2.0 Almanac GS2.0 Almanac Prototype 084

Threadneedle Street, EC2 in the zone of intervention 2. AR is showing the metrics, conditions and
attributes of the genetically modified daisy species.
085 Prototype GS2.0 Almanac GS2.0 Almanac Prototype 086
Shadwell Basin, E1. AR is showing architecture of The Tissue. AR is showing introductions to the fatberg.

087 Prototype GS2.0 Almanac GS2.0 Almanac Prototype 088

Looking over the River Thames towards Canary Wharf. AR is showing a monumental sized fatberg in the
water with an overlayed diagram of its scale and growth rate in the year 2130.

089 Prototype GS2.0 Almanac GS2.0 Almanac Prototype 090

READING LIST:
Ballard, JG. (1962) ‘The Drowned World’ London: Harper Collins
Bratton, B. (2018) ‘The Terraforming’ Russia: Strelka Press.
Bonneuil, C. & Fressoz, J. B. (2017) ‘The Shock of the Anthropocene’ Translated by Fernbach, D.
London: Verso. pp.19
Buck, H. J. (2019) ‘After Geoengineering: Climate Tragedy, Repair, and Restoration’
Calvino, I. (1978). ‘Invisible Cities’ New York, Harcourt Brace Jovanovich. pp.103.
Cohen, T, Colebrook, C. & Miller, J. H. (2016) ‘Twilight of the Anthropocene Idols’ Open
Humanities Press. Accessed: 22/12/2020 at http://www.openhumanitiespress.org/books/
titles/twilight-of-the-anthropocene-idols/
Collings, D. A. (2014) ‘Stolen Future, Broken Present: The Human Significance of Climate
Change’ Open Humanities Press. Accessed: 22/12/2020 at http://www.openhumanitiespress.
org/books/titles/stolen-future-broken-present/
Feher, M. (2007) ‘Nongovernmental Politics’ New York: Zone Books.
Feher, M. (1985) ‘Zone’ New York: Zone Books.
Gandy, M. (2004) ‘Rethinking urban metabolism: water, space and the modern city’ City 8(3),
pp.363–379
Garrett, B. (2016) ‘Picturing urban subterranea: Embodied aesthetics of London’s sewers’
Accessed: 22/12/2020 at https://doi.org/10.1177/0308518X16652396
Haraway, D. (2016) ‘Staying with the Trouble: Making Kin in the Chthulucene’ Durham; London:
Duke University Press. doi:10.2307/j.ctv11cw25q
Harvey, D. (1996) ‘Justice, Nature, and the Geography of Difference’ Cambridge, Mass:
Blackwell.
Jaizary, E. H. & Ghosn, R (2020) ‘Geostories: Another Architecture for the Environment’ New
York: Actar.
Latour, B. (2013) ‘Facing Gaia: Six Lectures on the Political Theology of Nature’ Gifford Lectures.
Accessed: 22/12/2020 at https://www.giffordlectures.org/lectures/facing-gaia-new-enquiry-
natural-religion
Le Guin, U. K. (2017) ‘The Left Hand of Darkness’ London: Gollancz
Lovecraft, H. P. (1999) ‘The Call of Cthulu’ New York: Penguin Books
Lovelock, J. (1979) ‘Gaia’ Oxford: Oxford University Press
091 Bibliography GS2.0 Almanac
Medd, W. & Marvin, S. (2006 ) ‘Metabolisms of Obe-city: Flows of fat through bodies, cities and
sewers’ in In the Nature of Cities: Urban political ecology and the politics of urban metabolism.
London: Routledge
Morton, T. (2016) ‘Dark Ecology’ New York: Columbia University Press
Stephenson, N. (2015) ‘Seveneves’ London: The Borough Press
Swyngedouw, E. (2006) ‘Circulations and Metabolisms: (Hybrid) Natures and (Cyborg) cities’
Science as Culture, 15(2), pp.105- 121
VanderMeer, J. ( 2014) ‘Annihilation’ New York: Farrar, Straus and Girouxn
Veronesi, M. (2016) ‘Mumbai’s urban metabolism and the role of waste management through
informality’ The Bartlett Development Planning Unit pp1.1.2. Accessed: 22/12/2020 at https://
www.ucl.ac.uk/bartlett/development/sites/bartlett/files/migrated-files/WP183_Mariangela_
Veronesi__0.pdf
Sterling, C. & Harrison, R. (2020) ‘Deterritorializing the Future: Heritage in, of and after
the Anthropocene’ Open Humanities Press. Accessed: 22/12/2020 at http://www.
openhumanitiespress.org/books/titles/deterritorializing-the-future/
Bibliography:
Cambridge University Dictionary (2021). ‘Almanac’ English Dictionary. Accessed 03/05/2021 at
https://dictionary.cambridge.org/dictionary/english/almanac
Graham, M. (2013). ‘Geography/internet: Ethereal alternate dimensions of cyberspace or
grounded augmented realities?’ The Geographical Journal, 179(2), 177-182. Available at: http://
www.jstor.org/stable/43868547 (Accessed: 12/05/2021)
Young, L. (2019). ‘Architecture Without People’ The New Normal. Zurich: Park Books.
GS2.0 Almanac Bibliography 092