Architecture materializes power through its lasting presence. Examining architecture as an entangled system, as form rather than meaningless shapes, we propose a multi scalar, indisciplinary discussion. In order to consider how the production of architecture is yoked to the commodification of natural resources, it becomes imperative to unveil the power structures behind this process.

Reframing Brazil offers an incomplete critical panorama of a logic of production and consumption, which operates at a local and a global scale. We propose to visualize this underlying logic, returning to the origin of the material chain, rewinding its processes and making visible the abstract logic behind it. This work contests the alienation of the final building from its landscapes of extraction, exposing which landscapes are left behind after the material departs.

It is an unfinished process: a collaborative platform that
discusses possibilities of different forms of organization and chain logistics that architecture entails. Questions regarding the material nature of architecture are raised: How to represent the layers of extraction that a built project underpins? Who narrates this story and for whom? How can we imagine other landscapes of extraction, considering a locally situated perspective as entangled with the global perspective? In this process, the material is investigated in its symbolic and political meaning.

Resources are essential to the primary necessity
of architecture to materialize. In the global logistics
of material extraction, the contemporary logic of construction reproduces colonial form of extractivism:
to have the material in the construction site is more important than the consideration of displacement of local conditions from which the material comes. After the end of the construction site, it becomes a decontextualized matter.

Architecture has the capacity to respond critically and 
give form to other ways of living together. A question, which animates the debates and is pervasive for us: how can we reverse the expansion of economic abstraction upon the planet and fundamentally, upon our lives? We advocate for the importance of learning from a deep time to project new forms of care of common resources.

Drawings visualize systems behind form and architecture. They illustrate architectural conditions in Brazil, which despite their ties to specific places, can be found in other parts of the world. Films and Projects bring propositions from diverse authors into dialog. Interviews bridge the discussion with the present moment, rehearsing potential forms of action. And the fundraising is an attempt to turn this project into manifold practical outcomes. Through multiple viewing subjects, the drawings illustrate both phenomena and abstractions to spark a discussion on the meanings behind construction and architectural form.

materializes power
through its lasting



On the way to the ápeiron1 one has lost its way without noticing. After kósmoi2 have been neutralized by the striations of a metric territory, cut across by a familiar infrastructure, the ethos3 becomes oîkos4. A creative destruction.
“The destruction, however, is not entire—the framework survives almost intact, but without ornaments; you could almost describe this as the bones ofa body without the flesh.”5
            Lying on a hilltop and surrounded by gardens, the distance between the city and the freestanding object is in itself, symbolic of power. The Imperial Palace materializes power through the groundedness of its walls. Criticality is a key to reframe it.

            Archeology, ancient Egypt, Greco-Roman cultures, pre-colombian cultures. The ones hand-picked to be preserved in the palace. A fabricated history of winners. Should it be erased? The choice was to do so: 20 million artifacts lost to the flames. In the bunch, the oldest human fossil found in South America. One of the 20 million.
          Superproduction, super consumption and supercarbon. The hero flies, guiding us somewhere distant. As a prelude to the spectacle of fires, a generic is seen falling off the cliff. Who will save it? Oîkosman, the master of destructive creation, was put available to be called. He asks for a deal above the market.
        After the declaration of Independence of Brazil in 1822, the Palace of Saint Christopher became the residence of Emperor Pedro I and the seat of the Brazilian Empire. Its architecture is tied to the symbolic display of centralized power and hierarchy. It remained the official imperial residence under D. Pedro II.
        In 1891, the building was used by Brazilian politicians writing the first Republican Constitution of the country. The building was converted into a National Museum after this event, with one of the largest collections of the Americas of  natural history and anthropology. The collection encompassed pieces of archeology, ancient Egypt, Greco-Roman cultures, pre-colombian cultures, among others. In 2018, an estimated 20 million artifacts were lost to the flames, including the oldest human fossils ever found in South America.

[1] infinite
[2] cosmos
[3] the characteristic spirit of a culture, era, or community as manifested in its beliefs and aspirations.
[4] refers to three related but distinct concepts: the family, the family’s property and the house.
[5] letter to Pope Leo X by Raphael and Baldassare Castiglione, c. 1519.

    Project and Practice in the Anthropocene
    Esther da
Costa Meyer


    Nation and Identity:  a
Modern Project
    Sunil Bald