Jealous Gods

What does Pasolini love?

the chaos of voices
filth is real, filth is honest
refusal of silence
resilience of the workers
connection of people
Aesthetic of Decay
persistence of myths
Mythology
Human connection

Raging Streets

What does Pasolini hate?

illusion of prosperity
neon advertisements
luxury goods
concrete suffocation
fetishizing of colonial relics
Consumerism a form of oppression
Exploitation of the Poor
Animal Abuse
This Project

The gods come together thus. [1]
Zeus, son of Cronus the king, [2] glares through the glass. “We came here to Mumbai not as conquerors, but as refugees. We bring warning.”

Shiva’s silence burns brighter than fire. “Then speak.”
Apollo [3] gestures toward the market below. “Look at them—faking prayers while placing your images in shops and wellness ads. It had become a tourist attraction.” [4]
Vishnu replies calmly. “And yet they still offer us flowers.”
Hermes [5] snorts. “We received these offerings once. Now we are metaphors—moodboards, costumes. Your match still burns. But for how long?”
Zeus leans forward. “We are all in danger. [6] What was worship has become spectacle. What was divine is now domestic. You think you’re immune, but the most obvious is the danger of foreign conquest—” [7] “by markets, not armies.”

Brahma strokes his beard. “You lost your altars. You come to protect ours—or envy them?”
Apollo smirks. “We come for Reclamation of Contaminated Land. [8] A chance to return. The labyrinth below breeds forgetting. At its heart, something feeds.”
Hermes raises a glass tumbler. “Reflections - mirrors of influence, of myth mistaken for branding. A world where even gods are cropped for packaging.”
Vishnu counters: “And yet, they deserve respect, however, and should be worshipped with a divine ritual. [10]“

Zeus’s voice softens. “I’m offering alliance. [11] We remember how it ends. A much younger guy managed to replace us before. Let us walk with you. Lend us your fire.”
Brahma’s eyes narrow. “The exchange is started again. [12] But what do you suggest, Olympians?”

Apollo glares. “Unknown gods tend to be very useful. [13] He is either a son of Zeus or Poseidon. We are not sure.”
The Trimurti share an angry glance between them. “This is exactly how you lost power, Olympians. Your treatment of mortals is of impropriety, insignificance, insubstantiality.” [14]

Shiva steps forward at last. “We have already begun your revival. We invited an Italian filmmaker to help give our vision form. His name is Pier Paolo Pasolini.”

The King of Olympus swallows his pride and addresses his eastern kin:
Let us stand together—not above the people, but before them.
As one pantheon reborn - not pure, poluted and powerful.
We are not here to be understood.
We are not here to be loved.
We are here to be worshipped.

Crawford Marketing

To Pier Paolo Pasolini,

Noise, pollution, increased danger.[1] You would hate it here; you would love it. The fetishization of a time long gone, the human connection, the advertisements giving a sense of prosperity, and the persistence of myth. Crawford Market in Mumbai is a stage where the city's reality is its illusion. Mumbai thrives on consumption and upward mobility,[2] layers of excess repulsing as much as they attract.[3] The transformation from city to megacity is not mere population growth[4] but a spectrum of the inexplicable. The human traffic is overpowering.[5] The city wants our labour.[6] A city of smoke wreathed within a city of trade.[7] This is the horror of the city.[8]

Pollution here does not choke the throat but clouds the eyes and mind with its colourful facade. Here, pollution changes the Perspective of Colour.[9] Concepts become colourful; the colour shows their intensity.[10] It is beauty accepting its own mortality.[11] Pier, you love the realness of the situation—so tell me, Why Should We Care about Chemical Pollution?[12] The sensation of color is the most popular form of aesthetic sense.[13] People are dying.[14] The elms are still dying, and so are the birds.[15] Yet, Dying is life, too.[16] Why oppose pollution by generalising it?[17] The pollution is sweetened, masked by a signifier of freshness.[18] Here is the beauty of science.[19]

The Market is a place of stimulating yet fleeting interactions, marked by quasi-authoritarianism, clientelism, and a game of cunning. A great deal of noise and air pollution plagues the plaza.[22] We must construct a spectacle that captures this grotesque ballet of consumption, stimulation, pollution, and myths. You would love Crawford—it thrives on hustling, human connection, and cacophony. It is a maze that can elicit fear in the unwary traveller.[23] Colourful stands of fresh produce sit alongside slithering snakes and sacks of somnolent toads.[24] Mesmerizing spices contrast with stark animal cruelty—a dance where fantasy and abuse are one.

But Pier, what if I told you that in Hindu mythology, there is no labyrinth? No Minotaur, no Theseus, no salvation. Instead, there is something more insidious: the Maya Sabha. Built by Maya for the Pandavas, it was a masterpiece of illusion.[32] Warriors were ensnared, not by walls, but by deception.[33] The market does not confine—it intoxicates. It demands constant stimulation.[34] You do not lose yourself in corridors but in a flood of color, sound, movement. There is no single path, no center. Here, people feed on each other for stimulation, information, satisfaction.[35][36]
Crawford Market is not a place; it is a phenomenon, one that lures, entrances, consumes. The Minotaur demands sacrifice, but here, sacrifice is voluntary—for sensation, for survival, for the illusion of prosperity. Light provides instant stimulation.[37] The creative manipulation of light and shadow fosters curiosity and mystery.[38] What it offers is not balance but ecstasy, intoxication.[39] Wherever there are people, there is pollution.[40]

Yours,
Crawford Marketing Inc.
 

[1] Serres, The Five Senses, [2] Lovejoy Boas, Primitivism and Related Ideas in Antiquity, [3] Joyce, Ulysses, [4] Morrissey, The Genius in the Design, [5] Calasso, The Marriage of Cadmus and Harmony, [6] Pier Paolo Pasolini, [7] Schmitt, The Cambridge History of Renaissance Philosophy, [8] Zimring, Encyclopedia of Consumption and Waste, [9] Foucault, History of Madness, [10] Seneca, Complete Works, [11] Asimov, Complete Robot Anthology, [12] Deleuze, Cinema 2 The Time Image, [13] Varoufakis Halevi Theocarakis, Modern Political Economics Making sense of the post-2008 world, [14] Wall, Radical Passivity

To Crawford Marketing Inc.,
You speak of seduction, myth, spectacle—without once naming what film is. You stitch words like garlands around an absence: vision.

You call me to Mumbai, to Crawford Market, where "colourful stands of fresh produce sit alongside the buckets of slithering snakes and sacks of somnolent toads." [1] You see spectacle. I see desperation lacquered in LED gloss. You mistake clutter for cinema, chaos for critique.

You want to trap the audience in sensation. But "the stimulation is not that of the discoverer of a diamond, which is a physical entity that may be monopolized or exploited only to the owner’s advantage." [2] You want sensation, not meaning. A hall of mirrors is not a camera.

You quote light pollution like scripture, but forget that "light provides instant stimulation; but time takes... time." [3] You want it all at once. That’s not film. That’s content. And content, my dear Ariadne, is the Minotaur now.

You claim the market is a new myth. I say, "the labyrinth was originally a military and political structure designed to trap enemies inextricably in a maze." [4] Yours isn’t a myth. It’s marketing. Your goddess speaks in hashtags.

And what is light pollution if not a wall made of false stars? What is overstimulation if not a labyrinth of the senses, where every path leads to exhaustion?

"Light pollution, artificial light that brightens the night sky, disrupts stargazers and the natural activities of nocturnal creatures." [5] But what are stars to us, when "the flood of artificial light and air pollution have made them ever more difficult to see?" [6] Imagine the resentment this will breed. "It is poetic understanding and justifiable hate." [7]

This is not a film. This is a theater of distraction, where hunger is drowned in trade, where nothing is still. Colonial relics wrapped in neon. In this light, "the poor are exploited and people suffer; excess burns." [8]

"The result is that today in many cities we have the worst of all worlds: danger without pleasure, safety without stimulation, consumerism without choice, monumentality without diversity." [9]

So let them rage. "If the people want, then let us gift them the fury and excitement of the mob." [10] "What more inevitable consequence than rage against its conditions and its custodians?" [10]

I am already in Mumbai. Not as collaborator. Not as accomplice.

As undertaker.

If this film must be made, let it at least die with style.

—
Pier Paolo Pasolini

Divine Fashion

[1] Kepler, New Astronomy; [2] Levi-Strauss, Tristes Tropiques; [3] Ackroyd, London: A Biography; [4] Hollis, Cities Are Good For You; [5] Leslie, Synthetic Worlds; [6] Hays, Architecture Theory since 1968; [7] Lefebvre, The Production of Space; [8] Cruickshank, A History of Architecture in 100 Buildings; [9] Marinetti, The Futurist Cookbook; [10] Javid, World Heritage Monuments and Related Edifices in I; [11] Hatherley, A New Kind of Bleak: Journeys Through Urban Britain; [12] Asimov, Complete Robot Anthology.

[1] Hovestadt Buehlmann, Quantum City, [2] Nonnos, Dionysiaca Books 36-48, [3] Grimm, Teutonic Mythology The Complete Work, [4] Barber, A Companion To World Mythology, [5] Erasmus, Poems

[1] Ovid, Metamorphoses [2], Semper, Style in the Technical and Tectonic Arts or Practical Aesthetics, [3] Serres, The Five Senses, [4] Asimov, Complete Robot Anthology

[1] de Condillac, Philosophical Writings of Etienne Bonnot, [2] Ammon, Bulldozer: Demolition and Clearance of the Postwar, [3] Watson, Heaven’s Breath, [4] Asimov, Complete Robot Anthology, [5] Tagore, The Home and the World, [6] Calasso, Ka: Stories of the Mind and Gods of India*, [7] Spinoza, Complete Works, [8] Joyce, Ulysses, [9] Parisi, Abstract Sex, [10] Powers, The Overstory

Stars above and rumbles below

Our Promise

The gods once met on Olympus and Meru, where wind spoke of fate.
Now the olympian divinity is threadbare, worn thin by time and cultural pollution.
They wear designer suits and gather in glass penthouses above Crawford Market, staring down in jealousy at their eastern kin.

Mumbai—city of stench, sound, and spiraling spirit—lives in infamy, divine and diseased.
Before Pasolini is allowed entrance, the Gods demand a crueler trial:
he must first survive the streets of the city itself.

Pasolini managed to find the realm of the Gods.
They did not keep the director waiting - thunder cracked, time folded, and the sky opened like a stage curtain.
Their power was not a greeting, but a declaration: overwhelming, precise, unforgettable.

The first wave of Gods made Pasolini pause. Was their divine arrival merely theatre -
an elaborate veil to cloak deities in logos and slogans?
But reflection had no time to settle; the next guests stepped forward -
radiant, long-forgotten, and eager to be seen again.

The gods seethe in silence.
So why resist?
If they cannot defeat the cultural pollution,
they will make it divine.

CRAWFORD MARKETING — 10 RULES FOR DIVINE BRANDING

1. Hire a Man of Myths to Film the Myths
Pasolini knew the difference between performance and passion. Make him hate his own work.

2. The Labyrinth Has Rebranded
It advertises. Half-consumerism, half-culture, it devours not bodies, but divinity.

3. Save the Local Myths
Genius Loci. Local branding works.

4. Destroy Isolation
Our advertisements aim to bring communities closer together.

5. Bring Our Own Myths
Pollution is exchange. We carry heritage as payload.

6. Gift the Space for Cultural Exchange
The spaces we build shall bring connection.

7. The beauty of Pollution
For us, pollution is excess. Excess is people. People make community. Communities exchange culture. Culture = pollution.

8. Scenography
Show the sewage. Show the saffron. Make them indistinguishable. This is our palette.

9. Shape the Urbanism
Deepen the site. Use the character of the city. Market it as labyrinth.

10. Build a Divine Contract with the Citizens
You are invited to a shared ritual of memory, myth, and market—where presence is devotion and every exchange is sacred.

Myths, rebranded

The gods no longer whisper from mountaintops.
They flood the world… with light, sound, and advertisement.
Not to be feared. Not to be hated.
But to be worshipped.

"Between Dharma and Drama, We Build Brands"

Sandro Gabardi

According to legend [1], heroes begin their journey with a burden.
Pasolinis began at the temple of Mumbadevi - cloaked in marigold, watching through incense and engine smoke. She gave no words, just a direction.

To Crawford Market. To the Labyrinth.

Beyond that point, adventure began [2]. Mumbai surrounded him - impossible, infinite. Past and present collide in a thousand different forms [3]: colonial balconies lit by chinese LED vines incense drifting past billboard screens, shrines tucked between phone repair shops and glowing ads.

The human traffic of Mumbai is overpowering [4]. The air itself fought back—breath, the action of life, sucks in pollution, life’s choker [5]. Still, he followed the call deeper.
Let us first examine the Labyrinth [6]. The labyrinth... was originally a military and political structure designed to trap enemies inextricably in a maze [7]. Crawford Market was designed to feed and distract. A beast of consumerism and devotion, stitched from the wreckage of discarded rituals and flashing sale signs.
What was once a vision of beauty is now one of heartbreaking decay and desolation [8]. The old watchtower standing above Crawford Market as an eternal guardian has seen the decay firsthand. From market to neon attraction. How many people did the clock see getting lost inside?

Pasolini ducked wires, crossed thresholds. He followed the streets nowhere and everywhere. Then he stopped.

Believe me: he will need courage [9].
The inside is very much like a maze [10].
He was watched from every corner.
He wasn’t alone.

That encounter needs to happen, and it needs to happen urgently. [11]
Beneath the waters of the old Fountain Pasolini saw the realm of the Gods.
For our safety [12], he murmered as he flicked a coin into the endless deep and jumped after it.

Pasolini climbed out of the waters of the fountain, surprisingly dry. The space awaiting him felt more like a vision than a room - curated, curated, for no one but him. The ceiling rose into a astonishing artwork: gods and men uniting, myth entangled with commerce. A colossal statue loomed silently, as though judging his presence. A camera was ready. A chair labeled “Director” waited for him like a throne.
He moved toward the window, watching Mumbai squirm below - crowds like rivers, horns like threats.
This was his stage now.

Nike arrived first, she entered from above, not walking but descending - a streak of divinity suspended in motion.
“What is the significance of the Nike ads?” [1] he asked, turning the camera toward her.
“I want a flagship store,” she answered.
“Not just a space, but a battlefield. Why tricks instead of battle?” [2]
She asked, her voice scarred the air. “Chaotic, hard, triumphant.”
She moved like she was mid-fight.
“A façade made of every advertisement I’ve ever conquered with my name.
Let the mannequins wear medals. Let the floors pulse with the drumbeat of a thousand feet.”
Pasolini, now seated, leaned forward.
“What do you keep?”
“My broken self, helming a ship. A flag of victory.” [3]
“Let me be paraded by the sound of crowds.”

Then Hermes burst in, a flash of momentum.
The Greek messenger god [4] was already halfway through a sentence.
“Give me a fashion store, obviously. Not boring sportswear – I want divine high fashion.
Sneakers adorned with wings. Racks that rotate through realities.
Let the mirrors in the dressing rooms lie to you - first flatter, then accuse.
After all, Style is just a lie that fits well.”
Pasolini didn’t interrupt. He merely asked, “And what will your style be?”
“A satchel filled with secrets. Winged sneakers and a fitting travelling cap. Now the triumphal procession can be told in proper fashion.” [5]

It wasn’t faith that connected gods to mortals anymore - it was merchandise. Pasolini had realized that somewhere along the way, divinity had been traded for advertisement. He lit a cigarette and stared out at the skyline drowning in ad-light. The gods wanted storefronts, monuments, product placement. Advertising had not merely polluted the world - it had remade Olympus. And Pasolini was left to envision the debris.

He had barely set down his pen when the light shifted – golden and unrelenting.

Apollo at last intervened. [1] His presence was unmistakable—radiant, commanding, ageless. He stood in the filtered light like a statue come to life, every surface reflecting his golden tone. Without turning his gaze toward Pasolini, he spoke, precise.
“I want a monument to conquest.
Glass and steel, tall enough to break the cold silence of eternity.
Name it after me: Apollo’s Mission.
Broadcast my image across the galaxy.
Whatever the light touches shall be mine.”
Pasolini, half-shadowed by the camera’s lens, asked, “And what will you place inside this Temple of Apollo?” [2]
Apollo's voice didn’t falter.
“Music. Perfection. A monument of futures achieved through my name.”

From the gridded vents in the lower floor came a low vibration—words mixed with static.
“What ear hears this summation or rumbling from the depths, harmony or interference?” [3]
It was the Minotaur, watching them from beneath the market. His voice paranoid, trembling, yet certain.
“I have been called a God once too, remember?
Gift me an observation room.
Monitors. Cameras. Exit strategies.
Under surveillance, but warm and comfortable.” [4]
“This market twists,” he growled, “and hides its intention. They could come for me at any time.”

Pasolini sat still, listening, composing desires into grotesque scenes of commerce —grand, absurd, yet painfully human.

What the camera captured was not divinity, but heretic pollution - gods framed as broken monuments.
A symbol too tired to stand. A hero who never existed, [1] Zeus murmured with regret.
The Olympians stood grim-faced, their divinity ragged, but their ambition intact. The roots of the resentment are deep, [2] and none deeper than Zeus’s.
“Do you see the power of products,” Vishnu said, voice low, fathomless and subtle. [3]

Hermes sneered, swaying slightly. “He’s drunk or something,” [4] he quipped, nodding toward the broken King.

Shiva’s third eye remained closed. “Shiva is the Lord of Chaos,” [5] he reminded them. “And we—” he gestured to himself, to Vishnu, to Brahma—“we’ve survived it by becoming part of the noise.”
Zeus bristled. “Noise is not worship.”
Apollo gestured to the LED signs above fruit stalls, their faces flashing among detergent ads and reality show promos. “It could be.”
“Call it a myth,” Hermes whispered. [4]

The Indian gods smiled, mirthless.
“You lost your thrones,” Vishnu said, “not to war - but to whisper. To exchange. To irrelevance.”
“But why resist?” Shiva offered now, gaze heavy with irony. “If they will not come to the altar, we will walk through their screens.”
Brahma agreed. [6]

Zeus looked down through the glass at the marketplace—at gods wrapped around energy drinks, avatars, mascots.
“This is villainy,” he muttered.
For in relation to such a perverted human nature, villainy would be virtue. [7]
“Then let it be divine,” Shiva said. “Let us drown the world in reminders. Billboards, banners, pop-ups, stickers on water tanks. Let them choke on devotion.”
“Choking with bloody foolery,” [8] Apollo muttered, but he was smiling.
“Alignment, then?” Hermes said, raising a glass.
“Alliance,” Vishnu corrected.
“A campaign,” Brahma added.

So the gods make their final vow:
If we cannot be remembered through prayer, we will be remembered through presence.
If it must be, we ally with Pasolini.
Images have no centre, no direction and orientation. [9]
We will possess the image.
It’s a new enough myth. [10]

Marcel Siess

"The gods don’t meet
except to make war."[1]

[1] Clement, The Planetary Garden and Other Writings

[1] Gratz, The Battle for Gotham New York, [2] Zimring, Encyclopedia of Consumption and Waste, [3] Cohen, The Sustainable City, [4] Greenspan, Shanghai Future Modernity Remade, [5] Hollis, Cities Are Good For You, [6] Hollis, Cities Are Good for You, [7] Ackroyd, London A Biography, [8] Ackroyd, London A Biography, [9] Hovestadt Buehlmann, Quantum City, [10] Roman, Play Among Books, [11] Cacciari, The Unpolitical, [12] Gershwin, Jellyfish A Natural History, [13]Marx, Collected Works, [14] Schildberger, On Food, [15] Carson, Silent Spring, [16] Powers, The Overstory, [17] Watkin, Michel Serres, [18] Leslie, Synthetic Worlds, [19] Lane, The vital question, [20] Hays, Architecture Theory since 1968, [21] Simone, New Urban Worlds Inhabiting Dissonant Times, [22] Herzog, Return to the center: Culture, public space, and city building in a global era, [23]Ackroyd, Venice Pure City, [24] Greenspan, Shanghai Future Modernity Remade, [25] AHays, Architecture Theory since 1968, [26] Carter, Shaking A Leg, [27] The doorless, labyrinth layout ensures hands free entry., [28] Hays, Architecture Theory since 1968, [29] Rand, The Fountainhead, [30] Haraway, Staying with the Trouble, [31] Leslie, Synthetic Worlds, [32] Mahabharata, Sabha Parva (Mahabharata), [33] Mahabharata (Mahabharata, Sabha Parva), [34] Speck, Walkable City, [35] Kellert, Biophilic Design The Theory Science and Practice, [36] Goldsmith, Capital New York Capital of the 20th Century, [37] Unwin, Analysing Architecture, [38] Kellert, Biophilic Design The Theory Science and Practice, [38] Gratz, The Battle for Gotham New York, [39] Frankl, The Gothic, [40] Speck, Walkable City,

[1] Hovestadt & Buehlmann, Quantum City, [2] Roman, Play Among Books, [3] Cacciari, The Unpolitical, [4] Mahabharata, Sabha Parva, [5] Zimring, Encyclopedia of Consumption and Waste, [6] Tsoukala, Intersections of Space and Ethos, [7] Kunstler, Geography of Nowhere, [8] Cacciari, The Unpolitical, [9] Borden, Gender Space Architecture, [10] Ackroyd, London: A Biography

Welcome to Crawford Marketing Inc.
We are a divine branding agency operating at the intersection of myth, market, and megacity. Headquartered in Mumbai’s Crawford Market, we specialize in the strategic revitalization of ancient deities through contemporary platforms—offering full-spectrum identity services for gods facing obsolescence. From Nike™ to Hermes ™ and Apollo™, our campaigns turn ritual into experience and belief into engagement metrics.
We don’t advertise; we anoint. Our campaigns reclaim ancient gods through contemporary Indian advertising, leveraging spectacle as both medium and critique. Guided by the legacy of filmmaker Pier Paolo Pasolini, we navigate the fine line between reverence and commodification. From incense-shrouded storefronts to LED-drenched altars, we convert culture into influence. Advertising is the new ritual.
While you are here, remember:

Our Divine Story

1. Myths, rebranded - Video

2. Jealous Gods

3. Raging Streets

4. The Bargaining

5. The Minotaurs Dispair

6. Our Promise

Ariadne's Thread

Indra's Net

Our Associates

The Sacred

The Profane

The Mythic

The Contradictory

Chalermchai Kositpipat, Wat Rong Khun (Chiang Rai, Thailand)

Guðjón Samúelsson, Hallgrímskirkja (Reykjavík, Iceland)

Ustad Khalil, Jama Masjid (Delhi, India)

Unknown, Minara Masjid (Mumbai, India)

Unknown, Zakaria Masjid (Mumbai, India)

Syedna Mohammed Burhanuddin (supervising patron), Raudat Tahera (Mumbai, India)

Portuguese Jesuits (rebuilt structure, 1904), Mount Mary Church (Mumbai, India)

Emil B. Fetzer, Washington D.C. Temple (Kensington, Maryland, USA)

Baikdoosan Architects & Engineers, Ryugyong Hotel (Pyongyang, North Korea)

Unknown, Siddhivinayak Temple (Mumbai, India)

Unknown, Shri Mumbadevi Temple (Mumbai, India)

Chola Dynasty under Raja Raja Chola I, Brihadishvara Temple (Thanjavur, India)

Unknown, Vaishno Devi Temple (Katra, Jammu & Kashmir, India)

Bohlin Cywinski Jackson, Apple Store, Fifth Avenue (New York City, USA);
OMA / Rem Koolhaas, Fondazione Prada (Milan, Italy);
Wonderwall / Gwenael Nicolas, Gentle Monster Flagship Store (Seoul, South Korea);
Burberry Architecture Team with Thomas Heatherwick Studio Burberry Pop-Up (Jeju Island, South Korea);
Herzog & de Meuron, Primark Flagship Store (Madrid, Spain);
GAP In-House Design Team with Gensler, GAP Flagship (New York City, USA);
Nike Retail Design with TPG Architecture, Nike House of Innovation 000 (New York City, USA);
Sybarite Architects, Gentle Monster Flagship (Beijing, China);
Denis Montel (RDAI), Hermès Maison Ginza (Tokyo, Japan);
Gensler, Starbucks Reserve Roastery (New York City, USA);
Atul Ruia, Phoenix Palladium Mall (Mumbai, India);
Dalziel & Pow, Primark Birmingham Flagship (Birmingham, UK);
Der Scutt (Swanke Hayden Connell Architects), Trump Tower (New York City, USA).

Herzog & de Meuron, Elbphilharmonie (Hamburg, Germany)

Unknown (17th-century palace), Escher in Het Paleis (The Hague, Netherlands)

Heatherwick Studio, Longchamp Store (New York City, USA)

Zaha Hadid, MAXXI – National Museum of 21st Century Arts (Rome, Italy)

Oberto Airaudi (Falco Tarassaco), Temples of Humankind (Damanhur, Italy)

Thomas Heatherwick, Vessel (New York City, USA)

Heatherwick Studio, Zeitz Museum of Contemporary Art Africa (MOCAA) (Cape Town, South Africa)

Daniel Libeskind, Royal Ontario Museum – Michael Lee-Chin Crystal (Toronto, Canada)

Beomsik Won, Archisculpture Photo Project (Conceptual/Global)

Amenábar Arquitectos, CSAV Headquarters (Valparaíso, Chile)

Ross & MacFarlane (original, 1912); Diamond Schmitt Architects & KWC Architects (renovation, 2020), Government Conference Centre (Ottawa, Canada)

Oakley & Parkes (original, 1931); Bates Smart with Lovell Chen (renovation, 2020), Hilton Melbourne Little Queen Street (Melbourne, Australia)

Information on the architect for HydroTherm is not readily available.

ODOS Architects with O'Donnell O'Neill Design, The Mayson Hotel (Dublin, Ireland)

RKW Architektur + (RKW GmbH + Co. KG), Nationale Akademie der Wissenschaften Leopoldina (Halle, Germany)

J. Hindertz (original, late 19th century); Union of Romanian Architects (modern addition), Paucescu House (Bucharest, Romania)

Bernard Khoury / DW5, Tumo Center for Creative Technologies (Yerevan, Armenia)

MVRDV, EU TUMO Convergence Center (Yerevan, Armenia)

"They wear designer suits and gather in glass penthouses above Crawford Market, staring down in jealousy at their eastern kin."

"Beneath the waters of the old Fountain I could see the realm of the Gods"

LEAKS

"We are not here to be understood.
We are not here to be loved.
We are here to be worshipped.
"

"The roots of the resentment are deep and none deeper than Zeus’s"

"curated, for no one but him"

"The human traffic of Mumbai is overpowering"

"Unknown gods tend to be very useful"

"My broken self, helming a ship. A flag of victory"

"After all, Style is just a lie that fits well"

"Whatever the light touches shall be mine"

"I have been called a God once too, remember
"

"Beneath the waters of the old Fountain I could see the realm of the Gods"