About

Anna Puigjaner (she/her) is a PhD architect and researcher, co-founder of MAIO, an architectural office based in Barcelona. Her work, linked to feminist studies, is focused on inclusive domestic architectures able to redefine former biased structures. She is currently Professor of Architecture and Care at ETH Zürich. Previously, she taught at the Graduate School of Architecture, Planning and Preservation GSAPP at Columbia University, at the Royal College of Arts, London, and at the Barcelona School of Architecture ETSAB/ETSAV - UPC. Anna has presented her work widely, including the Art Institute of Chicago, the Venice Biennale, and the New York Museum of Modern Art. Her research project Kitchenless City was awarded the Wheelwright Price (2016) by the Harvard Graduate School of Design.

Dafni Retzepi (she/her) born in Greece in 1992, is an architect EPFL and a teaching assistant at the Chair of Architecture and Care in ETHZ since 2023. She is a PHD candidate at the University of Bologna, Italy. She is one of the founding members of the architectural office Sujets Objets / based in Geneva. In 2019 she co-founded the experimental practice Arimna. Interested in the latitudes of practice and the highways of theoretical formulations, her projects and research examine contemporary architectural discourses under the light of relations to the recent cultural, economic, and political past.

Ethel Baraona Pohl (they/them) is a critic, writer and curator, as well as a co-founder of the independent research studio and publishing house dpr-barcelona, which operates in the fields of architecture, political theory, and the social milieu. Their curatorial practice includes, among others, “Twelve Cautionary Urban Tales” (Matadero Madrid, 2020–21); and more recently, “Llibres Model” a curated book collection and open library (Model, Barcelona Architectures Festival 2022, 2023). Their writing has been widely published, both in academic and independent publications. Ethel believes that publishing is a political act, and reading, a form of resistance.

Lisa Maillard (she/her) is an architect and researcher. She studied at ETH Zürich, Goldsmiths (London), and King’s College London, and has worked in participatory urban planning processes in Zürich. Her work covers questions related to bodies, gender, sexualities, law, space, and their intersections, with a particular focus on reproductive justice and the spatialities of street-based sex work. Lisa is a founding member of Kollektiv Erika, an informal, non-commercial gastronomy collective. She also works on geolocation for Airwars, a non-for-profit agency monitoring civilian casualties in conflict zones.

Pol Esteve Castelló (he/him, they/them) is an architect and researcher. Pol’s work focuses on the relationship between body, space, and technology with a special interest in non-conforming bodies, non-canonical histories, and collective and anonymous design. Their work has been presented in different formats, including writing, performative talks, and installations. They are a practising designer and a co-founder of studio GOIG. Pol is also affiliated to the Architectural Association and The Bartlett (UCL).

He Shen (they/them) studied architecture at ETH Zürich, with a Master’s Thesis on hidden interiors of historical LGBTQIA+ spaces in Zürich. He curated Cabin Crew (gta exhibitions) and Sexkino Roland (Nexpo) with Querformat, examining the built environment through queer art. He makes performative cooking events with Kitchuan, exploring memories and identities through food. He writes on art, performance, and architecture. Shen is interested in how the understanding of space can be broadened through performance.

Luís Úrculo (he/him) lives and works between Madrid and Mexico City. His practice takes anthropology, archeology, and criminology as a main reference of phenomenology to create lines of investigation based on the idea of the reconstruction of timelines, interpretations, uncertain materiality, imprecise descriptions, or ambiguity to create a diverse body of works. He also works with the concept of ‘karaoke’ or absence of information, to create a line of complicity with the viewer, who builds interpretations, as tourists, archeologists, or simple karaoke singers in a bar.