- Following 3.8K
- Followers 6.6K
- Engagement 1.9%
- Avg likes 133
- Avg comments 1
About Studio GROSS
Studio GROSS (@studio_gross) is an Architectural Designer creator on Instagram, also filed under Home & Decor. The account has 6,618 followers and 189 published posts. Recent posts average 133 likes and 1 comment, an engagement rate of 1.9%.
Studio GROSS belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. Studio GROSS follows 3,774 accounts, so the audience is roughly 1.8 times the size of the list followed. Studio GROSS is set up as an Instagram business account. Flinque files Studio GROSS under Architectural Designer, with Home & Decor as a secondary category.
The Instagram bio for Studio GROSS runs to 22 words across 6 lines. The latest activity Flinque has on record for Studio GROSS dates from April 2026.
Story Highlights
Unlocking shows the title and cover image of every story highlight this creator keeps pinned to the profile.
189 Posts
Of the 10 most recent posts shown for Studio GROSS, 7 are carousels and 3 are single images. That mix leans toward carousels. 189 published posts give Studio GROSS a moderate archive on Instagram. Against the audience, that is roughly 35 followers for each post published. Studio GROSS also keeps 59 story highlights on the profile. All 10 carry captions, averaging 161 words each. The captions are written mainly in English. Words that recur across them include exhibition, these, tokyo, architecture and work.
We are pleased to invite you to an informal screening of the cinema version of <<Make Do With Now>> in Tokyo!
When: Thursday, April 16, 6:00 PM - 9:00 PM
Where: Goethe-Institut Tokyo, ドイツ文化会館 107-0052 東京都港区赤坂7-5-56, 2F
Who: Q&A with Mio TSUNEYAMA
The event is supported by, which generously allows us to use their newly designed gallery spaces on the second floor of the OAG house in Akasaka.
SEATS LIMITED PLEASE REGISTER VIA DM OR
Title:
Make Do With Now
New Directions in Japanese Architecture
Film Length:
62 minutes
Language:
Japanese with English subtitles
5 Positions:
Yūtarō Muraji, Mio Tsuneyama, Fuminori Nousaku, Tōru Yada, Takuma Tsuji, Takeshi Hashimoto, Miho Tominaga, Toshikatsu Ienari, Wataru Doi
Produced by S AM Swiss Architecture Museum as part of the exhibition «Make Do With Now: New Directions in Japanese Architecture.”
Curated and Directed by Yuma Shinohara
Film, edit and co-direction Anne + Sebastian GROSS
Description:
‘Make Do With Now’ sheds light on an emerging generation of architects and urban practitioners in Japan. Largely entering professional practice following the 2011 Great East Japan Earthquake and Fukushima nuclear disaster, this generation is developing a range of critical, ecological, and social approaches that creatively ‘make do’ – with limited resources, found materials, and existing spaces – while seeking appropriate responses to the urgent problems of the present. Turning their backs on the traditional image of the architect-author, these practitioners are articulating a new architectural agency in working from the periphery, exploiting gaps in the system, and occupying new roles that have previously overlooked.
Title Graphic: 75W / Tilmann S. Wendelstein
House 04, by Studio Gross, and my home in Tokyo for a little while 🤍
How do we narrate our identities in the contemporary world across different media and national borders? The book project metttasphere, just published with torch press in Japanese and English, invited 21 artists and researchers from Japan and abroad to explore this question in three chapters: “Mediated identities”, “Migrations/translations” and “Queer & disabled post-identities.” This pop-up exhibit showcases artworks from the book and will be accompanied by talks and readings.
現代世界において、様々なメディア、そして国境を越えてアイデンティティをいかに語り得るか？torch pressより日本語・英語で刊行された書籍プロジェクト『metttasphere』は、国内外のアーティスト・研究者21名を招き、「媒介されるアイデンティティ」「移住／変容」「クィアと障がい者のポストアイデンティティ」の三章立てでこの問いを探求します。本ポップアップ展では、同書に掲載された作品を展示するほか、トークや朗読会も開催されます。
Program
Day 1 – Saturday, April 11 (18:00–21:00)
19:00 — Narrating identities: Talk with editors Michael Facius & aliwen
19:30 — On papermaking: Lecture-performance by Chloe Paré-Anastasiadou
20:00 — Drinks & snacks
Day 2 — Sunday, April 12 (13:00–18:00)
Readings from metttasphere throughout the afternoon
17:00 — Virtual talk with editor Hannah Janz
The book is published by torch press, a Tokyo-based independent publisher specializing in art books and photobooks run by Amino Nao (網野奈央). Since 2013, torch press has collaborated with contemporary artists to produce carefully crafted publications that emphasize the tactile and conceptual possibilities of the book as a medium.
In addition to the pop-up event, an academic book launch will take place at The University of Tokyo, Ito International Research Center Hall, on Tuesday, April 14 (16:00–18:00), bringing together contributors and scholars Michael Facius, Terada Yuki (寺田悠紀), and aliwen for a conversation about identity, media, and transnational perspectives.
Hero image: Chloe Pare-Anastasiadou, metagrid, recycled paper pulp, 2022.
Reception
Saturday, March 21, 2026
Time: 18:00-21:00
Exhibition
Sunday, March 22, 2026
Time: 13:00 - 18:00
Venue
Studio GROSS
In her series of jute works titled huswif (2021-), Birke Gorm focuses on the traditional character of the bag and addresses the constructed, binary gender disparity with regard to men’s and women’s clothing. She draws attention to how the manufacturing, production and circulation of everyday objects in modern Western societies have constructed a patriarchal gender hierarchy of privileges and discriminations.
The contents of the huswifs consist of items that enable craftsmanship, labor, and combativeness: nails, baskets, woods, and ropes. Made from the same materials as the bags holding them, they are crafted within reproductive processes; following an inexhaustible economic logic of reprocessing and repurposing.
ジュート麻によるシリーズ《huswif》（2021年～）において、ビルケ・ゴームはバッグの伝統的性格に着目し、男女の衣服に関する構築された二元的ジェンダー格差を扱う。近代西欧社会における日用品の製造・生産・流通が、いかに家父長的な特権と差別のジェンダー階層を形成してきたかを明らかにする。
《huswif》の内容物は、手仕事や労働、さらには闘争性を可能にする、かご、木材、ロープなどの道具から成る。これらはバッグと同じ素材で作られ、再生産のプロセスの中で制作され、再加工や再利用を繰り返す尽きることのない経済論理に従っている。
This exhibition is part of our collaboration with and the Federal Ministry of Housing, Arts, Culture, Media, and Sport, Republic of Austria, within their program
Abstract
This essay examines the implicit systems thinking in the work of Annemarie and Lucius Burckhardt. Best known for their Science of Walking (Strollology) and extensive textual contributions. They argued that architecture is never solely about form but always involves the political, economic, ecological, and symbolic systems that underpin it. Their close engagement with Horst Rittel’s concept of wicked problems shaped this perspective, emphasizing that design cannot be solved once and for all but requires ongoing negotiation. To explore these ideas thoroughly, a collection of 105 texts was assembled, revealing nearly 300 references to “system” and related terms. These were categorized into eleven themes and illustrated with diagrams that map interconnected relationships otherwise hidden. The analysis shows how the Burckhardts anticipated later discussions in systems theory and Actor–Network Theory, culminating in the proposal of two design methods—the Set of Considerations and the Relational Drawing—to advance their ideas.
Abstract
This essay examines the implicit systems thinking in the work of Annemarie and Lucius Burckhardt. Best known for their Science of Walking (Strollology) and extensive textual contributions. They argued that architecture is never solely about form but always involves the political, economic, ecological, and symbolic systems that underpin it. Their close engagement with Horst Rittel’s concept of wicked problems shaped this perspective, emphasizing that design cannot be solved once and for all but requires ongoing negotiation. To explore these ideas thoroughly, a collection of 105 texts was assembled, revealing nearly 300 references to “system” and related terms. These were categorized into eleven themes and illustrated with diagrams that map interconnected relationships otherwise hidden. The analysis shows how the Burckhardts anticipated later discussions in systems theory and Actor–Network Theory, culminating in the proposal of two design methods—the Set of Considerations and the Relational Drawing—to advance their ideas.
Abstract
This essay examines the implicit systems thinking in the work of Annemarie and Lucius Burckhardt. Best known for their Science of Walking (Strollology) and extensive textual contributions. They argued that architecture is never solely about form but always involves the political, economic, ecological, and symbolic systems that underpin it. Their close engagement with Horst Rittel’s concept of wicked problems shaped this perspective, emphasizing that design cannot be solved once and for all but requires ongoing negotiation. To explore these ideas thoroughly, a collection of 105 texts was assembled, revealing nearly 300 references to “system” and related terms. These were categorized into eleven themes and illustrated with diagrams that map interconnected relationships otherwise hidden. The analysis shows how the Burckhardts anticipated later discussions in systems theory and Actor–Network Theory, culminating in the proposal of two design methods—the Set of Considerations and the Relational Drawing—to advance their ideas.
We are happy to share the studio in early 2026 with a video work on “Versions.”
January 23-25
Opening
Friday 17:00-21:00
Exhibition
Saturday 13:00-18:00
Sunday 13:00-17:00
“Versions”
Video, 6’34”
This work expresses the inner conflict of the artist herself, who has lived her life changing cultural spheres. The video shows three stuffed animals engaged in a discussion, featuring one who holds strongly Western views, one who holds traditional Japanese views, and one who is somewhere in between. Each of them discusses topics such as gender roles, clothings and femininity.
Rieko Tsuji
Videographer and visual artist.
In recent years, she has been producing video works of hand-sewn puppets. Using feminine craft work as a medium of expression, and incorporating themes related to gender and queer issues, she keeps thinking deeply about building comfortable relationships with others.
「Versions」
映像、6分34秒
住む文化圏を変えながら暮らしてきた、作家自身の内的な葛藤を表した作品。3体のぬいぐるみがディスカッションを行う様子を収めた映像には、西洋的な意見を持つ者と、伝統的な日本の意見を持つ者と、そのどちらでもない中間的な者が登場する。それぞれが性別によって期待される役割や、服装、女性らしさなどについて話し合う。
辻梨絵子
ビデオグラファー、ビジュアルアーティスト。近年は裁縫を手法に、人形劇的な映像作品の制作を行なっている。
女性的な手仕事をあえて表現媒体に使用し、ジェンダー問題やクイアに関するテーマを取り入れながら、他者との心地良い関係づくりについて思考を重ねている。
TOXIC FINGERS
毒の指 （どくのゆび）
Featured Artists:
Bernhard Fuchs
Gerhard Jordan
Max Freund
Paul Riedmüller
Vanessa Lindenau
Exhibition of individual works and presentation of our new Soybot publication GIFTIGE FINGER.
Atelier Studio Gross
5-15-5 Higashiogu, Arakawa-Ku, 116-0012 Tokyo
📸 Soybot
《Processing》
Opening reception FRIDAY 12/12 18:00-21:00
Exhibition SATURDAY 12/13 13:00-18:00
Processing is a series of mechanical mourning devices made of Mashiko clay, developed during a residency in Tokyo. Created in dialogue with ceramic works by the artist’s late aunt Anneliese Basilius-Hacker, the installation brings together fragile clay machines that turn slowly beneath suspended light forms echoing their shape, recalling floating lanterns. It unfolds as a shared, intergenerational practice of making and mourning, in which clay and gears, human bodies and unstable mechanisms, collaborate in processing.
Alina Smith is a media artist currently pursuing a PhD in Complexity Science. With a background in physics and professional experience as a software developer, her artistic practice engages kinetic objects and interactive surfaces that embed proximity and pressure sensors, light “languages”, custom electronics and code. Her ongoing exploration of “artificial souls” and sensitive technologies treats these devices as experimental setups for investigating empathy, perception and points of vulnerability in human–machine relations under contemporary Anthropocene conditions.
Artists:
Anneliese Basilius-Hacker (Ceramics)
Joachim Michael Huber (Sound)
Alina Smith (Ceramics)
《Processing》は、益子の粘土を用いて制作された一連の機械仕掛けの喪の装置で、東京でのレジデンス中に制作されました。作家の亡き叔母アネリーゼ・バジリウス・ハッカーの陶芸作品との対話を通じて生まれた本作は、ゆっくりと回転する壊れやすい粘土の機構と、その形を映すように宙に吊られた光の造形が呼応し、灯籠を思わせる風景をつくり出します。粘土と歯車、人間の身体と不安定な機械が協働し、喪と制作の世代を超えた共同的なプロセスとして立ち上がります。
アリーナ・スミスは、複雑系科学の博士課程に在籍するメディア・アーティストです。物理学の背景とソフトウェア開発者としての専門的な経験を持ち、接近・圧力センサー、光の「言語」、カスタム電子機器やコードを組み込んだキネティックなオブジェクトやインタラクティブなサーフェスを用いた創作を行っています。「人工の魂」とセンシティブなテクノロジーの探求を続ける彼女は、現代の人新世的状況のもとで、人間と機械の関係における共感、知覚、脆弱性のポイントを調べるための実験装置として、これらのデバイスを扱っています。
Artists:
アネリーゼ・バジリウス・ハッカー（陶芸）
ヨアヒム・ミヒャエル・フーバー（サウンド）
アリーナ・スミス（陶芸）
This exhibition is part of our collaboration with and the Federal Ministry of Housing, Arts, Culture, Media and Sport, Republic of Austria, within the program.
linktree:
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Studio GROSS's engagement
Studio GROSS's engagement rate on Instagram is 1.9%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 53 followers. Likes outnumber comments by roughly 133 to 1, with 133 likes and 1 comment on an average post, so most reactions are taps rather than replies.
Engagement rate
1.9%
- Avg likes
- 133
- Avg comments
- 1
- Interactions : followers
- 1 : 53
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Frequently asked questions
These answers about Studio GROSS are generated from the Instagram profile data Flinque holds for the account.
Who is Studio GROSS?
Studio GROSS (@studio_gross) is an Architectural Designer creator on Instagram, also filed under Home & Decor. Studio GROSS is set up as an Instagram business account. The Instagram bio for Studio GROSS runs to 22 words across 6 lines.
How many followers does Studio GROSS have?
Studio GROSS has 6,618 followers on Instagram (6.6K). Studio GROSS follows 3,774 accounts, so the audience is roughly 1.8 times the size of the list followed. 189 published posts give Studio GROSS a moderate archive on Instagram.
What is Studio GROSS's engagement rate?
Studio GROSS's engagement rate on Instagram is 1.9%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 53 followers. Likes outnumber comments by roughly 133 to 1, with 133 likes and 1 comment on an average post, so most reactions are taps rather than replies.
What does Studio GROSS post about on Instagram?
Flinque files Studio GROSS under Architectural Designer, with Home & Decor as a secondary category. Of the 10 most recent posts shown for Studio GROSS, 7 are carousels and 3 are single images. The 10 recent Instagram captions Flinque holds for Studio GROSS repeatedly use the words exhibition, these, tokyo, architecture and work. Studio GROSS writes those captions mainly in English. Studio GROSS keeps 59 story highlights, which open with a free Flinque account.
How do I contact Studio GROSS for a collaboration?
Studio GROSS's contact details are not published on Flinque's public profile. The Instagram bio links to 2 external sites, and a free Flinque account opens those links. The account is registered as an Instagram business account. Brands with a free Flinque account can shortlist Studio GROSS and use Flinque's outreach tools wherever a contact route is on file.
Links
Studio GROSS's own Instagram profile is the one outbound link Flinque publishes for the account, and the 2 bio links open after signing up.
Public profile data sourced from Instagram. Flinque is not affiliated with Studio GROSS.