THIS CITY IS A SWAMP

& the narative of generative design.

          1. project context
        2. development
          3. outcomes
4. closures

Speculating the pactise of drinking 100 years into the future of the city on wurrundjeri country

nicholas_hadji-michael
supvisor: areli avendano franco

3. CONTEXT

How Did We Get Here?

'THIS CITY IS A SWAMP' critiques the colonial design systems that have shaped Melbourne's urban and hydrological landscapes and explores speculative futures for water governance and public spaces.

The project reimagines the Elizabeth Street Creek as a living, decolonised system of water distribution and ecological restoration.

At its core is the "Living Fountain": a public drinking fountain that uses native flora and condensation technology to capture, purify, and present water for tranformative communal use. The artifact represents 100 years of speculative change, merging functionality and narrative. Made from materials such as reclaimed London plane tree wood and local clay, the installation critiques colonial infrastructure while fostering a culture of care. It envisions a future where urban water systems are shaped by Indigenous knowledge and ecological responsiveness, inviting the public to interact intimately with water as a shared resource.

Naarm / Narrm / Neirm / Nairm

2. DEVELOPMENT

the cone
of
possibilities

the endless
cycle of
reinterpretation*

This project was explored under a cone of potential futures by means of a speculative study of the probable, plausible, and possible futures.

By means of this research, we can better grasp the possible directions ahead and reflect on the current condition of water governance and city planning.

The “probable” looks at what would probably happen should present patterns carry on.

In A Probable Future...

Where Melbourne faces increasing water scarcity due to prolonged droughts and the impacts ofclimate change, the city embraces fog-catching nets.

The “plausible” take into account situations that, given reasonable technological, policy, and social change, could actually arise.

In A Plausible Future...

Industrial involvement in water purification is seen as contaminated and. untrustworthy, consumers feel more secure in sovereign water collecting, sourcing bio-filtered water.

The “possible” takes a more creative approach, weighing extreme transformations and creative ideas that might reshape the city’s relationship with water.

In A Possible Future...

A strong centralisation of natural sensibilities leads to sovereign water collection and the rise of communal drinking.

(drinking)

2124

(the artifact)

elizabeth street water fountain

(fountain)

3. POSITIONING

The realisation of this research will take the form of an “Artefact.” The Artefact embodies more than just a design object—it represents a tangible narrative, a piece of speculative history rooted in cultural and environmental context.

The term “Artefact” evokes a sense of time, place, and story, aligning with my project’s exploration of the city’s future and the decolonisation of water governance. It reflects the idea that this is not simply a functional design, but a symbol of transformation, a relic from an imagined future.

This Artefact invites reflection, questioning, and connection, grounding speculative ideas in a physical,
experiential form

Engaging Cultures Of care and the Hydro-Social Cycle

Speculative Design for Policy Making.

In pursuit of policy-shaping speculative design, I have outlined a three-step approach:

Contextual Grounding:

Link speculative design to current policies and frameworks. This helps make future scenarios more relevant and actionable by rooting them in real-world issues, ensuring speculation is connected to tangible realities.

Scenario Planning and Testing:

Develop multiple future scenarios—ranging from probable to radical—and use them in workshops to help policymakers explore different outcomes. This allows for stress-testing current policies and imagining how they might adapt to various challenges.

Prototyping Futures:

Build prototypes that embody future possibilities. These physical or interactive models make speculative ideas more concrete, offering a way for people to experience and engage with imagined futures directly.

4. MAKING

The artefact combines craft-based processes like silicon casting, laminate bending, and native plant cultivation with reclaimed materials to embody decolonisation. Timber from London plane trees is repurposed to reflect a community commitment to transforming symbols of colonisation into tools for restoration. Organic forms and the condensation net encourage mindful interaction, while native grasses create a self-sustaining system, reimagining a future built on care and sovereignty.

Speculative design survives on the power of narrative In envisioning long-term futures.

it is often not enough to simply present abstract ideas; instead, these ideas must be woven into tangible stories that feel authentic, engaging, and plausible.

5. OUTCOMES

Newspapers
100 Years Of Change

Hover to Pause*

Each newspaper could act as a snapshot of a pivotal moment, building a cohesive and interconnected timeline that illustrates the catalysts for change through a sequence of events that feel interconnected and almost inevitable, giving depth to the idea of policy evolution and cultural transformation.

The living Fountain
Design Concept for 2124

The Artefact visualises and celebrates sovereign responses to community-sized problems.

It reflects a fundamental shift from centralised, commodified water systems toward more localised, ecologically integrated approaches.

The act of capturing and presenting pre-colonial creek water is a symbolic return to land-based water governance.

As an exhibition tool, the Artefact is not a passive object but an active agent that embodies the speculative design principles explored in my research. It offers a vision of a future where water management is a collective responsibility, and where design fosters stewardship rather than consumption.

REFLECTIONS

Elizabeth Street is no longer just a road; it has transformed into a living example of how small changes can spark big shifts.

Native grasses and wetland plants thrive in what used to be concrete spaces. Policies that support urban greening and local stewardship, like unsealing surfaces and planting native vegetation, are part of a larger transformation of the city. Scattered ponds now provide water and habitats, honouring the land.

Condensation nets hang from colonial-era buildings, capturing water for the community. In this possible future, water is no longer controlled—it flows freely, shared by all. Cultural water rights have returned to Indigenous communities. At the same time, community-based water councils now manage local resources, shifting power from the state to the people. Communities gather at water basins, using ceramic vessels to care for one another. The street has become a space of connection, where water is not only for consumption but a reminder of our shared responsibility.

Elizabeth Street sets a new standard for Australia and beyond. Grounded in small, practical changes, it redefines our relationship with water. This future doesn’t just imagine a world where water is decolonised; it shows us how it can happen, one small step at a time.