With the subtitle 'a speculative adaptation to climate change', Edward Thomson wrote a parallel between the throwaway society that exhausts the climate and the way in which robbery is committed on the artistic climate, resulting in burnouts. His proposal was to conduct three studies that unite art, climate and conflict in site-specific shelters such as huts and shelters. “Each of these locations becomes a kind of muse or canvas on which I can sculpturally explore the idea of ​​reuse.” The experimental building would require improvisation and adaptation, appropriate to an art practice, in which ideas about recycling are central.

The relationship with nature has been a permanent theme in Thomson's work for years, who before that often works outdoors, building structures between architecture and the visual arts, or translating it into abstract sculptures that he exhibits. In 2017, he designed a mobile studio for Into Nature in Drenthe, where he worked for two and a half months with available materials from nature. It makes care and attention a matter of course, qualities that are also central to Landfall.

The R&D committee went along with Thomson's train of thought so that it entered into discussions with researchers in 2019. The specific different locations turned out to be less identifiable than more complex combinations of climatic threats that affect cities, such as stone deserts. He therefore decided to focus on cities and therefore, with the birth of his daughter River, he designed sculptural safe shelters for babies. River's crib for the flood and River's crib for the drought protect infants in floods and droughts respectively, and were shown at Art Rotterdam in 2020. The idea of ​​attention and reuse was evident in the choice of materials and execution, a work that is a retelling by Bas Jan Ader's fatal ship voyage in relation to climate change. After completing this project in 2020, he continued to work with students on housings, as a follow-up to this project.