Also trained as an architect, Edi Solari presents Casamalia, a deeply atmospheric project that transforms interior photography into narrative memory. Rather than focusing on the precision of built form, Solari finds history embedded in textures: faded wallpaper, fractured tiles, drifting light. These domestic details are transposed into fashion, with garments echoing the spaces they inhabit, and somehow interrupting time, where the architecture wears memory.

From a different vantage point, Katharina Klopfer uses photography to distil architecture to its abstract essence. Her series Postmodernism isolates the sculptural tops of buildings to reveal the eccentric, symbolic, and playful spirit of the movement. The compositions are stripped down, minimal, and almost surreal, encouraging viewers to rediscover the expressive possibilities of architecture in an era that embraced complexity and contradiction. Klopfer’s architectural background is evident in her formal restraint, yet her imagery resists categorisation, residing somewhere between criticism and celebration.

Lara Swimmer brings a North American voice to the exhibition, with Public Housing, Shared Spaces, a photographic series centred on emerging public housing developments along the West Coast of the United States. Swimmer’s lens is attuned to the human scale of architecture: courtyards, lobbies, community rooms, spaces of interaction and shared experience. Known for her documentary approach, Swimmer captures light, movement, and the subtle presence of life, giving equal weight to architecture and the communities it hosts.

The Middle East Institute’s photographic project Water and Oil: Photographing Women’s Rights and Environmentalism in Iran, curated by Angelica Modabber, introduces a more explicitly political dimension to the exhibition. Featuring works by Hoda Afshar, Hashem Shakeri, Rahi Rezvani, and Tahmineh Monzavi, the series interrogates the intersection of gender, geography, and environmental degradation in contemporary Iran.

At Palazzo Mora, the non-profit organisation Blurring the Lines presents Rocks, Roots, Unearth by Nesie Junyi Wang, one of the winners of its 2024 edition themed Picturing Transition. Focused on the environmental impact of copper mining in China, the project explores a striking paradox: miners who degrade the land by day, yet cultivate it through personal gardening. Through photography, video, and copper plate etchings made from tailing sand, Wang reveals the complex ties between people and the altered landscapes they inhabit. Her work reflects Blurring the Lines’ mission to support emerging voices that challenge and expand the role of photography in understanding urgent global change.