Using speculative design, film and the visualisation of imaginary cities, he opens up conversations querying urban existence, asking provocative questions about the roles of both architecture and entertainment.

[10] Young has developed a body of films that use new technologies of image making to tell new kinds of stories about the urban implications that these systems give rise to.

They are part of an underground community that has developed new textiles for digital camouflage which they use to escape the surveillance systems of the city and seek out a hidden rave party in the abandoned industrial factories of Detroit.

Seen through the eyes of the flying cameras the film tells the story of a young woman who has hacked one of the drones and uses it to pass love letters to her boyfriend who is trapped in the tower opposite.

Accompanying each film is a short story written by a range of science fiction authors including Jeff Noon, Tim Maughan and Pat Cadiagan.

[34][35] For the performance Young designed a flock of costumed drones that would fly above the audience carrying speakers that broadcast the live music played by the band.

As The Guardian notes, the project "brings drones out of the realms of sinister terrorist surveillance and Amazon delivery and puts them in front of your face like massive alien gnats".

Against the backdrop of Forest Swords original soundscape and a film collage directed by Young he narrates the story of a lone drone flying across time and space.

[42] A number of the books have been serialised on the BBC, such as A World Adrift: South China Seas to Inner Mongolia which was developed as 3 articles exploring the landscapes of modern technologies and written in collaboration with author Tim Maughan.

The book features stories from science fiction authors such as Warren Ellis, Bruce Sterling, Rachel Armstrong, Samit Basu and photography by Edward Burtynsky, Charlie Koolhaas and Vincent Fournier.

[53][54] One of works in the exhibition Rare Earthenware, a set of radioactive vases made from the amount of toxic waste generated in the production of technology has since been acquired by the Victoria and Albert Museum for their ceramics collection in London.