Work New Ecological Order | Research | Installation | Book

Research

Title: The New Ecological Order
Theme: Transformation of Nature in North Africa due to the European Energy Transition
Type: Research, Vision, Installation, Publication
Location: Morocco, Draa-Tafilalet region
Exhibition: International Architecture Biennale Rotterdam 2024, The New Institute – Museum for Architecture, Design, and Digital Culture
Exhibition 2025:Lisbon Architecture Triennale, Portugal
Local Research Support: Koun Aktif (Local NGO) and residents from the affected areas
Year: 2023 - Ongoing

"The New Ecological Order" examines the impact of the European energy transition on Morocco's Imazighen Indigenous communities, especially those in the Draa-Tafilalet region, home to the world’s largest concentrated solar plant. This project approaches the energy transition from a cultural angle, highlighting Indigenous knowledge as a beacon of hope and showcasing resilience amid changing energy landscapes.

Traditionally, the Imazighen expressed their identity through crafts. Today, however, their culture is overshadowed by big tech and oil companies, which undermine traditional knowledge.

The project's findings were published in a limited edition for the International Architecture Biennale Rotterdam.

Please feel free to contact if you require more information about the project.

Supported By: IABR; Creative Industries NL
Video and Photography of Morocco: Lesia Topolnyk, 2023
Photos of the Installation: Midas van Boekel

Installation representation New Ecological Order | IABR | International Architecture Biennale Rotterdam | by Lesia Topolnyk | Studio Space Station

Installation dimensions: 5m (h) x 3m (l) x 2,5m (w)

The installation acts as a symbolic totem—not a monolithic statue of nostalgia, but a dynamic representation of shifting forces. Found objects, each carrying the weight of local stories, come together to create a complex ecosystem of meaning. This narrative space encourages visitors to explore the true implications of energy transition and how traditional knowledge—a fragile, nature-connected foundation—is being compromised by international projects like the NOOR solar plant. Although such projects signify progress, they are often entangled with extractivist agendas driven by fossil fuel corporations.

At the foundation of the installation, traditional Moroccan carpets anchor the narrative. A Beni Ourain carpet, woven from wool, and a Boucherouite rug, crafted from repurposed textiles like wool, cotton, and synthetic fibers, embody the shifting currents of energy transitions.

The advent of modern projects has curtailed Morocco's traditional nomadic lifestyle, leading to a scarcity of wool, once a vital resource for these cultural artifacts.

New Ecological Order | Installation | Lesia Topolnyk

Above these carpets lies a contemporary artificial layer symbolising NOOR Solar Plant. This solar plant reflects the modern shift in energy sources and overlays the traditional carpets, illustrating the ongoing evolution of energy transitions.

New Ecological Order | Installation | Lesia Topolnyk

On top of the carpets, Moroccan lanterns are juxtaposed with artillery shell cases. The lanterns, rooted deeply in ancient Maghreb cultures, blend Amazigh, Jewish, Islamic, Arab, and African influences. Their evolution during French colonization demonstrates how modernization has impacted these traditions.


The artillery shell cases, including those from the 1973 Arab-Israeli War, highlight the connections between energy, resources, and warfare. This conflict led to an oil embargo and a global energy crisis. It prompted research into renewable energy and reshaped geopolitical dynamics. These changes continue to affect today’s energy transitions, including the Abraham Accords.


Transitioning between these elements, a Traditional Jar filled with Sahara sand symbolizes collectivity. In contrast, a 'Contemporary' Jar symbolised by oil tanks and water heater tanks, reflects modern individualism and privatization. The traditional jar represents communal sharing and hope. Meanwhile, the contemporary jar illustrates a shift towards capitalism and personal possessions, highlighting evolving relationships between energy, resources, and daily life.

Throughout the installation, Water Meters are scattered. They symbolically represent the depletion of water resources caused by the NOOR Solar Plant. Before the plant was finished, Morocco heavily relied on the Al-Monsour Ad Dhabi dam. This dam was crucial for both irrigation and drinking water. The reliance on the dam underscored the country’s water stress. Consequently, it highlighted the challenges of balancing water use among the solar plant, agriculture, mining, and urban needs.


Another significant element is the Sahara Sand from the Ouarzazate region. This sand illustrates the Sahara Desert’s role in replenishing the Amazon rainforest. It does so through dust plumes that carry phosphorus. Despite seeming minor, this contribution greatly affects the Amazon’s ecosystem. Thus, it serves as a metaphor for the interconnectedness of global energy and environmental systems.

A European Rollcontainer, stacked as a tower and filled with European and global artifacts, represents transition, modernity, and nomadism. It embodies the pressures of global forces and includes references to the World Bank.

Surrounding the Rollcontainer and positioned at its top are Optical Fiber Cables and Recycled Electronic Parts from Big Tech. These components signify the shift towards green energy and cloud-based operations. Although they may seem intangible and futuristic, they rely on a fundamental connection to physicality and nature. Ignoring this connection could have severe consequences.

Together, these elements weave a complex narrative. They invite visitors to reflect on the profound and often hidden impacts of energy transitions on culture and the environment.

New Ecological Order | Installation | Lesia Topolnyk

Project

Biography

The Prix de Rome is the oldest and most prestigious Dutch award for visual artists and architects below the age of 35.

Lesia's work has been published in ArchDaily, E-Flux, STIRworld, NRC, Het Financieele Dagblad Persoonlijk, Metropolis, Mister Motley, Blauwe Kamer, AD, and more.

Honors & Awards:

2024 - Residency at The Savannah Centre for Contemporary Art (SCCA) and Studio of Ibrahim Mahama (Red Clay), Ghana

2024 - Residency on Governors Island, New York

2023 - IABR Agent of Change

2023 - Financieele Dagblad Top 50 Talent 2023

2022 - Winner Prix de Rome, the Netherlands

2020 - Talent Grant, Creative Industries, Netherlands

2020 - Young Talent Architecture Award, nomination (by the Fundació Mies van der Rohe and the EU Commission)

2019 - Winner Archiprix Nederland

2019 - Winner Archiprix International

2019 - Winner Tamayouz International Award

2014 - AHK Talent Grant

Selected Exhibitions:

2025 - Solo exhibition at MAGAZIN, Vienna, Austria (upcoming)

2025 - Lisbon Architecture Triennale, Portugal

2024 - Work presentation at RedClay (Studio of Ibrahim Mahama), Ghana

2024 - Mobile installation, exhibition, Governors Island - Lower Manhattan, New York

2024 - OMI, "Rotterdam Culture City", alongside significant works by OMA and West 8.

2024 - International Architecture Biennale Rotterdam (IABR)

2022 - Prix de Rome, NI, Rotterdam

2022 - Architecture Triennale, Lisbon

2022 - New European Bauhaus, Brussels

2021 - Dutch Design Week

2021 - Biennale, Venice

2020 - Dutch Design Week

2019 - Biennale, Santiago

2019 - Archiprix International

2019 - Archiprix Netherlands

Portrait for Prix de Rome 2022

Lesia Topolnyk is an architect who pushes the boundaries of her field, exploring architecture’s role beyond the act of building. Her goal is to foster a holistic perspective and stimulate systemic transformation. Rather than simply creating structures, she is deeply invested in the potential of architecture within our constructed reality—whether physical, social, or political. "It's about ideas that take shape during the research and design process, generating new typologies," she explains. For her, architecture is not a reactive discipline but a tool for reshaping the world by questioning its existing frameworks. "Architects are often seen as designers of spaces, but we also design relationships. Especially in these turbulent political times, it is crucial to examine how the world itself is designed to understand the larger forces at play. Sometimes, I reflect on major global issues; at other times, I focus on the space inside someone's mind.”

Lesia founded Studio Space Station to tackle urgent societal and planetary challenges beyond the traditional scope of architecture, bridging global and local perspectives. She uses spatial tools to shape ideas, uncover hidden narratives, and forge new relationships—whether through installations, interventions, architecture, or film. Rooted in deep research, each project uniquely responds to its context, provoking thought, stirring emotion, and sparking dialogue. Her approach to architecture, art, and design is fundamentally collaborative, drawing on diverse perspectives and expertise. She actively works across disciplines, believing that "you can learn from others, and they bring valuable insights and viewpoints.”

Lesia effortlessly navigates between different scales and realities, having studied art and holding master’s degrees in Architecture (NL), Urban Planning (PL), and Environmental Design (UA). She also has a decade of experience working at internationally renowned architecture practices. Her work has received numerous Dutch and international awards and has been exhibited and published worldwide. She also teaches and lectures in the Netherlands and abroad.

For her final project at the Academy of Architecture in Amsterdam, Topolnyk, who grew up in Ukraine, addressed the situation in Crimea, proposing a building that serves as a counterpart to the United Nations Headquarters—UnUnited Nations Headquarters—exploring architecture’s role in absorbing conflict within a divided society. For this work, Lesia received both the Archiprix Netherlands and Archiprix International awards.

Her Prix de Rome-winning project, No Innocent Landscape, expands on this vision, exploring how architecture can operate in politically contested territories, using spatial interventions to navigate instability and create new narratives. Through speculative research and design, she examines architecture’s role in decision-making and power structures, revealing the invisible forces that shape our built environment.

Lesia's current research, extending to sites in the Netherlands, Africa, and New York, focuses on the crises shaping our world, with a particular interest in how governance has historically been designed and how architecture has supported, symbolised, and shaped these systems. "It’s about how we can design change and how we can govern the world better together," she concludes. For her, architecture is not just about constructing spaces—it is about constructing possibilities.

Text: Vincent van Velsen

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