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The City of Legitimate Capital. Part of the Reframing Brazil Exhibition at YSoA North Gallery. Spring 2020.
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Balneário Camboriú is a product of capital. Located in the south of Brazil, the city is not designed by a named architect, but its zoning allows for the market to resolve its shape: the result is the maximization of built density along the shore line and an expansion of the city that follows the waterfront. The variation in its phenomenal appearance is a product of the exact same abstraction: The logic of accumulation and maximization of value.
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To that end, Balneário Camboriú can serve as a general model of a formless city, one in which there is no common form, but that is a materialized diagram of land value. .The logic of land value is embedded in the ground, working with the abstraction of land subdivision. The architect is the market and the project is profit. As a formless city, its territory of extraction reaches regions far beyond the area that it physically occupies. A city of consumption and accumulation, it functions colonizing land and erasing forms of living other than the ones it entails.
. Terra Incognita. Part of the Reframing Brazil Exhibition at YSoA North Gallery. Spring 2020. . On the way to the ápeiron one has lost its way without noticing. After kósmoi have been neutralized by the striations of a metric territory, cut across by a familiar infrastructure, the ethos becomes oîkos. 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 of a body without the flesh. “ 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. In 2018, an estimated 20 million artifacts from the National Museum of Brazil were lost to the flames, including the oldest human fossils ever found in South America.
. Terra Incognita. Part of the Reframing Brazil Exhibition at YSoA North Gallery. Spring 2020. . On the way to the ápeiron one has lost its way without noticing. After kósmoi have been neutralized by the striations of a metric territory, cut across by a familiar infrastructure, the ethos becomes oîkos. 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 of a body without the flesh. “ 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. In 2018, an estimated 20 million artifacts from the National Museum of Brazil were lost to the flames, including the oldest human fossils ever found in South America.