The Seventh Lisbon Architecture Triennial Challenges Us to Rethink the Future of Cities
In a world where climate change, social inequality, and technological disruption are reshaping our lives, the seventh Lisbon Architecture Triennial asks us to confront a fundamental question: how heavy is a city?
This year's triennial, titled "How Heavy is a City?", presents a coalition of architectural investigations that spiral into absurdity, echoing the complexities of the contemporary city. Curated by Territorial Agency (Ann-Sofi Rönnskog and John Palmesino), the triennial features three main exhibitions - "Fluxes", "Spectres" and "Lighter" - as well as numerous independent projects, a public program, and an accompanying publication.
The triennial's investigations are concerned with the material fluxes and dynamic processes of global cities, as well as the accumulation of energy and information that they are built upon: the so-called technosphere. The main exhibition, "Fluxes", explores how urban life is shaped by extraction, measurement, and the accelerating forces of the technosphere.
In a thought-provoking installation, visitors can walk through a corridor created by large-scale boards placed at an angle inwards above their head, containing the white-on-black schema of Kate Crawford and Vladan Joler's "Calculating Empires". The work poses the question 'Who measures?' by tracing the increasingly authoritarian systems of communication, computation, control, and classification.
Another exhibition, "Spectres", extends the concept of the city beyond its traditional borders into the "ghost acreages" that supply it with material and energy. The installation features a large-scale narration by Soundwalk Collective and Patti Smith, which tells stories of ravaging forest fires, repeated extinction of species, rapidly melting glaciers, and catastrophic weather events.
The triennial's final major exhibition, "Lighter", offers a more optimistic vision for the future. In contrast to the horizontal grids of monitors found in "Fluxes" and "Spectres", the main monitors in "Lighter" are vertical, placed within a maze of curtains that requires the viewer to seek out the videos documenting projects that explore alternative possibilities for the future.
A standout work is Lynn Margulis' "The Tissue of Gaia", which delightfully refuses the myth of the Anthropocene by showing microorganisms as the true stewards of the Earth. Another notable work is WORKOVERTIME's "A Metabolic Commons—Many Hands Make Light Work", which focuses on the human relationship and emphasizes the need to develop an infrastructure of care rather than exploitation.
Ultimately, the seventh Lisbon Triennale of Architecture not only questions how heavy a city is but inspires an upturning of the status quo. By introducing a dizzying array of questions, data, and measures, the triennial prompts us to reject solution after solution until we reject solutionism in its entirety while refusing to give up, give in, or provide any answers.
The triennale is on view at MAAT—Museum of Art, Architecture and Technology, MUDE—Design Museum, MAC/CCB—Museum of Contemporary Art and Architecture Centre, as well as Palácio Sinel de Cordes, MNAC—National Museum of Contemporary Art, Estufa Fria, and Atelier Amadeo through December 8, 2025.
In a world where climate change, social inequality, and technological disruption are reshaping our lives, the seventh Lisbon Architecture Triennial asks us to confront a fundamental question: how heavy is a city?
This year's triennial, titled "How Heavy is a City?", presents a coalition of architectural investigations that spiral into absurdity, echoing the complexities of the contemporary city. Curated by Territorial Agency (Ann-Sofi Rönnskog and John Palmesino), the triennial features three main exhibitions - "Fluxes", "Spectres" and "Lighter" - as well as numerous independent projects, a public program, and an accompanying publication.
The triennial's investigations are concerned with the material fluxes and dynamic processes of global cities, as well as the accumulation of energy and information that they are built upon: the so-called technosphere. The main exhibition, "Fluxes", explores how urban life is shaped by extraction, measurement, and the accelerating forces of the technosphere.
In a thought-provoking installation, visitors can walk through a corridor created by large-scale boards placed at an angle inwards above their head, containing the white-on-black schema of Kate Crawford and Vladan Joler's "Calculating Empires". The work poses the question 'Who measures?' by tracing the increasingly authoritarian systems of communication, computation, control, and classification.
Another exhibition, "Spectres", extends the concept of the city beyond its traditional borders into the "ghost acreages" that supply it with material and energy. The installation features a large-scale narration by Soundwalk Collective and Patti Smith, which tells stories of ravaging forest fires, repeated extinction of species, rapidly melting glaciers, and catastrophic weather events.
The triennial's final major exhibition, "Lighter", offers a more optimistic vision for the future. In contrast to the horizontal grids of monitors found in "Fluxes" and "Spectres", the main monitors in "Lighter" are vertical, placed within a maze of curtains that requires the viewer to seek out the videos documenting projects that explore alternative possibilities for the future.
A standout work is Lynn Margulis' "The Tissue of Gaia", which delightfully refuses the myth of the Anthropocene by showing microorganisms as the true stewards of the Earth. Another notable work is WORKOVERTIME's "A Metabolic Commons—Many Hands Make Light Work", which focuses on the human relationship and emphasizes the need to develop an infrastructure of care rather than exploitation.
Ultimately, the seventh Lisbon Triennale of Architecture not only questions how heavy a city is but inspires an upturning of the status quo. By introducing a dizzying array of questions, data, and measures, the triennial prompts us to reject solution after solution until we reject solutionism in its entirety while refusing to give up, give in, or provide any answers.
The triennale is on view at MAAT—Museum of Art, Architecture and Technology, MUDE—Design Museum, MAC/CCB—Museum of Contemporary Art and Architecture Centre, as well as Palácio Sinel de Cordes, MNAC—National Museum of Contemporary Art, Estufa Fria, and Atelier Amadeo through December 8, 2025.